AN 'EMPIRE' AT 45: INTRODUCING A BOUNTY HUNTER...

Ready to take the bounty, Boba Fett, as special art personified by his visual co-creator, Joe Johnston. 

"George (Lucas) wanted a new trooper. The original idea behind Boba Fett was that he was going to be an army of super troopers. There was going to be 40,000 of these guys. He's sort of a bad guy but he's not on the Empire's side and he's not on the rebels' side. He's like a free agent, and he goes around the galaxy arresting people and bringing them back to justice or bringing them back to Jabba the Hutt or whoever. He's a mercenary. He'll do anything for money, and his outfit, the way he looks, should reflect that."

Joe Johnston, on the conception of the greatest Star Wars saga bounty hunter, Boba Fett, who debuted in live action form within the drama of The Empire Strikes Back.

Empire at 40 | Designing an Icon: Joe Johnston on the Journey to Create Boba Fett | StarWars.com

Fett on a speeder bike, in another original art piece by Joe Johnston.

AN 'EMPIRE' AT 45: MARCH OF THE AT-AT'S!

Taking the stop motion legacies nurtured and developed by the iconic Willis O'Brien and Ray Harryhausen to the next level, the ILM team's work creating/filming the Walker sequence for The Empire Strikes Back, headed by Phil Tippett and Jon Berg, shot one painstakingly slow and dedicated movement of the time, would inspire a new generation of fans and wow cinemagoers within the epic Battle of Hoth.

Enjoy this selection of behind the scenes images... 

Construction begins on the first AT-AT Walker, so as to determine how it will move in stop motion.

Joe Johnston takes reference footage of the developing Walker model.

Joe Johnston checks the Walker cockpit at ILM.

Phil Tippett with one of the all-time stop motion greats in the Walker.

Stop motion animation begins for a Walker at ILM. This may have been a test sequence or something later reshot. Note the Hoth background painting does not appear in the film.

Emergent from his underset position, work begins again for the next motion captures.

Filming the Snowspeeder dive attack angle against the Walker.

A far placement Walker stands alone!

Preparing an explosive charge inside a Walker, with pyrotechnics expert Joe Viskocil kneeling.

Steve Gawley makes some model adjustments.

A fallen Walker on the ILM stage.

Tippett checks the monitor for the ongoing single frame stop motion movements.

Jon Erland works on a Walker model, whilst Tippett makes adjustments to a background Walker cutout.

Various sized Walkers from foreground to background.

Miniature Walkers, presumably for far background shots.

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.

THE MODERN MAGICIANS! CELEBRATING THE BIRTH OF 'INDUSTRIAL LIGHT AND MAGIC'!

Back in June 1972, when cinematography had started on the comedy/drama American Graffiti, the film's rising star Ron Howard asked its writer/director, and later close friend, George Lucas, what his next project was to be. Lucas replied that he had an interest in doing an exciting space fantasy adventure in the mould of Flash Gordon, but for a new generation of cinemagoers, and that he had in his mind an epic and fast-paced space battle that was to be a major part of it. Just how he was going to get that film made, in what would become Star Wars, would be an adventure in itself, and for the innovative special effects work needed to make that 'space battle' a reality, Lucas soon realised that he'd have to set-up a company from scratch to handle the work. The end result was Industrial Light and Magic, assembling some of the best and brightest talents old and new, working inside and outside of the American film system, who'd go on, against time and odds, to deliver genuine awe and excitement in their cinematic visual effects storytelling wake by May 25th, 1977...

The rest, as they say, is history...

Happy Fiftieth Anniversary to ILM, and thank you for bringing us all so much magic!

Remembering Early ILM with Patricia Rose Duignan | Lucasfilm.com

A Long Time Ago in a Warehouse Far, Far Away - Ventura Blvd

ILM chronology for the original Star Wars.

An early logo for the film, believed to have been created by Joe Johnston.

Getting ILM organised for the new May 1977 release deadline: George Mather, a respected talent who recognised a hit film in the works, with Lucas go through storyboards. 

The small but packed ILM model shop area.

A model universe takes shape going into mid 1976.

More views of the model shop, with the Imperial Star Destroyer, Blockade Runner and sections of the Death Star surface in view.

Working on the large version of the Blockade Runner.

Colin Cantwell's Skyhopper model, used for reference at ILM.

The early Colin Cantwell Imperial Star Destroyer model is used for reference as he work begins on building the model that would be used in the film.

Grant McCune also at work on the Star Destroyer. Note all the reference shots behind of the Millennium Falcon partially built at Elstree. Some of those pics have never appeared in any publications.

Jon Erland and Steve Gawley as the model takes shape.

A look at the many detailed models built for the film.

Darth Vader's TIE fighter, his wingman and a Landspeeder model.

Lorne Peterson and Jon Erland at work.

Two unknown crew members, one wearing Joe Johnston's concept mask version of Darth Vader, and both with a special T-shirt also created by Johnston.

Shipped to the US, the original Landspeeder model with the smaller version built by ILM.

Speedin' down Valjean Avenue.

Jon Erland and Phil Tippett with their alien chess pieces. A stop motion sequence that was handled very late in ILM's filming schedule.

The pair also work on an insert shot of the Dianoga for the Trash Compactor sequence.

John Dykstra operates his specially built computer controlled camera, the Dykstraflex.

Dennis Muren, an upcoming ILM star, at work. Note the Summer 1976 Howard Chaykin poster promoting the film.

The original title crawl later cut down and reshaped by George Lucas and Brian DePalma.

Richard Edlund films the original title card.

Jon Erland with the Blockade Runner escape pod section.

The superb Death Star model in all its glory.

Richard Edlund prepares to film the model.

Byron Werner and colleague add extra lighting.

The are where the ILM team, plus Rick Baker, watch the ongoing footage being created.

Lucas goes through the schedules with the key ILM team.

Connie McCrum, Cindy Isman and Mary Lind keep an eye on the assembled effects shots.

Lucas makes a costume adjustment to the Space Stormtrooper, played on the ILM stage by Joe Johnston.

A 'Pirate Ship' take shape!

The impressive Millennium Falcon, a last minute change in the ship's design, created by Joe Johnston.

Connie McCrum 'handles' the Falcon.

A photo cut out of the Falcon for use in the animated jump to lightspeed sequence.

Filming the top of the Falcon, note the laser guns fired upwards.

The Falcon, prepared to enter the Death Star hangar bay frontage.

Legendary matte painting artist Harrison Ellenshaw with his establishing work for the docking bay interior.

The iconic opening sequence, as originally shot - upside down!

Dick Smith attends to the positioning and stability of the model's underside for filming.

Edlund supervises the filming of the sequence, which he knows has to be done right so as to win the audiences' attention.

Paul Huston and colleague at work on the smaller blockade runner used for the opening sequence.

Again filmed upside down to simulate a space explosion, the full-size Blockade Runner.

The fun and macabre alien head/hands workshop using old and new creations from Rick Baker.

Doug Beswick with one of the Bith head moulds.

Several ILM employees enjoy clowning around for the camera.

A test explosion is filmed.

A test X-wing and pyro.

Lorne Peterson with one of the impressive X-wing models against blue screen.

Preparing to wire manipulate an X-wing above the ILM stage.

Red Five and Red Leader models ready for filming, in what would ultimately be an unused shot.

Lucas goes through a model's filming with Johnston.

Model maker Dave Jones readies a Y-wing fighter model for filming.

The lethal TIE trio are prepared for filming by Muren.

The interior of the Death Star superlaser, of which Joe Johnston and Jon Erland, as two of its Imperial Technicians, are corner superimposed.

Peter Kuran (far left) and Patricia Rose Dignan watch as Lucas observes key filming frames. 

Filming the remote controlled Jawa Sandcrawler model out in California during early 1977.

Shots of the impressive Death Star trench surface.

Filming a point of view attack on the Death Star surface.

A section of the Death Star surface is moved out into the car park area for filming and pyrotechnic detonations.

The surface area assembled for filming.

Detonating explosive sections outside the ILM building.

Preparing to film and detonate parts of the exterior surface model.

The jaw-dropping descent into the trench is filmed in two sections and seamless put together during editing.

One of the surface cannons prepares to fire.

Ken Ralston inspects the model on the ILM stage.

A shot of the trench speed through. 

Preparing to film in the trench.

The thermal exhaust port area - notice the near miss detonation from Red Leader's proton torpedo.

Filming the incredible Death Star explosion.

Johnston and droid friend.

Gary Kurtz joins the ILM team conference with Lucas.

A nostalgic group shot of the original ILM team outside their Van Nuys base.

The ILM team reassembles in 2017, for the film's Fortieth Anniversary, alongside Marcia Lucas and Gary Kurtz.

Special ILM crew badges created for the small but dedicated Art Department.