BEHIND THE SCENES: 'STAR WARS' BEGINS!

Lucas coordinates with John Stears on the little Astro Droids.

A momentous day in the past and for the future, as March 22nd, 1976 saw the commencement of filming of a certain quirky, so-called low-budget space fantasy adventure called The Star Wars at the out there Salt Flats of Nefta, Tunisia, in which a small group of actors mingled with droids and small Jawas (and a relatively unenthused British crew) to bring writer/director/visionary George Lucas's very special enduring fantasy saga to life.

And the rest is history...

Star Wars: A New Hope Began Filming 50 Years Ago Today | StarWars.com

A sci-fi/fantasy universe like no other begins filming at Nefta.

Conferring with George Lucas on a busy. difficult first day for the film-maker.

'STAR WARS' AT 40: PREPARING THE POD!

Out in Tunisia in late March 1976, the droids' escape pod (which looks very similar, if smaller, to one of the pod vehicles seen in Kubrick's 2001: A Space Odyssey) is positioned in one of the sand dunes by the original Star Wars primary UK practical special effects supervisor John Stears (bearded) and an unknown colleague, soon dirtied up with crash impact sand and other prop dressings, even if the end results are barely noticeable on screen during the finished film.

Find out more about John Stears involvement in the original film here:
https://starwarsaficionado.blogspot.co.uk/2012/07/star-wars-at-35-remembering-uk-effects.html

'STAR WARS' AT 40: SHEPPERTON FLIGHT!

The superb X-wing fighter prop takes to the air at Shepperton Studios, suspended by a crane wire support whose entry point above came via a specially created hole in the soundstage ceiling at Shepperton, supervised by John Stears and his team- the only way the scene could be realized practically. This iconic moment was also shot from numerous angles for the editorial process, in order to make it look as if more than one X-wing was actually taking flight.

John Stears (under the camera crane) confers on the Shepperton set.

AFICIONADO CLASSIC BLOG 2007 - REMEMBERING THOSE WHO HELPED SHAPE THE SUCCESS OF 'STAR WARS'

A superb creative pairing: George Lucas and Gary Kurtz on the set of THE EMPIRE STRIKES BACK at Elstree-1979.

Note: This is a classic blog from our older site reprinted.


Yep, the Thirtieth Anniversary of STAR WARS has proved to be a considerable success this year- and George Lucas's "little space movie for young people" is still as superb as ever, continuing to find new fans of all ages across the globe in whatever medium it breathes life in: be it books, movies, TV or comics.

From where it all began, Lucas is the corner stone, the lit blue touch paper from where it all began like a supernova- the story, the characters, the look and feel of it all, the entire universe-it all comes from him-and we'll all be eternally grateful of the day that he put pen to paper to come up with the film on those handwritten notes he outlined in May 1973, and for the amazing imagination within that fertile mind of his that, even now, continues to spur on into new heights of creativity. STAR WARS (or STAR WARS: A NEW HOPE-whatever you want to call it!!), in this writer's mind, is still the best film of the saga and has yet to be equalled, primarily because Lucas is there at the beginning in every way, and nothing has equalled it's raw power of enjoyment, in my eyes, since...

It was a struggle for Lucas to get the film made- a struggle that would last for five years. It was a risk, but one that ultimately paid off. To get this film made, for it to leap from the imagination of Lucas's mind onto the celluloid screen, the young director needed help, assembling some of the best people working in the cinema at that time to achieve his goal. On this thirtieth anniversary, we quite rightly continue to celebrate talents like George Lucas, Ralph McQuarrie (whose wondrous creative and artistic insights launched a visual style that hasn't bettered), Alan Ladd Jr., John Williams, Richard Edlund, Dennis Muren, Joe Johnston, Ben Burtt-all amazing people and all quite rightly congratulated for their work.

In this anniversary year, however, let us also remember the great talents that are no longer with us-the brilliant Production Designer John Barry, who helped realise Joe Johnston and Ralph McQuarrie's superb environments into practical set reality (making any visitors to the ELSTREE Studio's in 1976 amazed by the uniqueness of the upcoming movie). Let's not forget John Stears and his practical UK team (of which only Stears would be credited for his contribution to STAR WARS-none of his UK team mates were credited in the end titles, event though all of the rising star ILM team members were) for their hard work in bringing the many droids like Artoo Detoo to life, realizing the Landspeeder, the lightsabers and all of the other iconic effects -all of which might have seemed impossible to create to other film-makers in 1973- that, though they have been improved upon since, started with this movie. 

Let's also not forget Gilbert Taylor. His long experience and film-making style may have regrettably clashed with the young independent film-maker (years later, apparently, he would even be banished from being allowed in for the premiere party for THE STAR WARS SPECIAL EDITION in London in 1997!!), used to doing his own camera-set ups and changing lights (the veteran cinematographer, unbeknownst to Lucas, also being under orders from FOX to have his work adhere to their own visual requests for the film), but lets not forget the beautiful clean and sharp look he brought to  the Death Star scenes, as well as the wild beauty of Tatooine, the grimy criminal atmosphere of the cantina and the organic green and brown colour scheme of a growing Rebellion on Yavin IV. Again, the artistic palettes for cinematography may have changed and improved over the years, but STAR WARS still looks fantastic from a photography vantage.


And in particular, on this important anniversary year, if there's one person still being overlooked for his contributions to the STAR WARS universe, let's also not forget the film-maker still continually active in today's tough world of the movie-making environment-Gary Kurtz-producer of STAR WARS and THE EMPIRE STRIKES BACK.
Despite the problems of getting STAR WARS off the ground, and despite the complex nightmares of the even more ambitious EMPIRE, the majority of which were unforeseen and could not ultimately have been avoided, Gary Kurtz would be the further important under-pinning that made the STAR WARS SAGA the success it is today. With a talent for character and storytelling, a strong eye for direction, film-making and photography, and in the areas of special effects photography, Kurtz would help Lucas shape the films into the success they have become today. And as Producer, let's not forget his contributions-on EMPIRE, it was Kurtz who selected Kershner to direct the important sequel (a superb choice to helm the film), it was Kurtz who chose Peter Suschitsky (whom many think gave the STAR WARS saga its best cinematography with EMPIRE). It would also be Kurtz who maintained a strict quality control on all areas of the films, especially EMPIRE, from the way the film was marketed, to the escalating toy creation and promotion, to the dailies film footage being shot at ELSTREE and ILM, to the help, protection and support he gave the films young stars, this producers talent and hard work on the films should not be overlooked. 



With the takeover of the STAR WARS INSIDER by TITAN MAGAZINES, let us hope that the magazine one day returns to its glory days of the mid-nineties in terms of content. Lets find out more behind the scene material on our favourite films, in particular, more interviews, with decent questions rather than the same old same old, with the cast and crews that made these films, and a reduction in the toy marketing content. So many people who have contributed to STAR WARS have died in the last few years and none of their stories or anecdotes have been recorded or detailed (an example being David Tomblin- when did anyone talk to him about his extensive work on EMPIRE and JEDI-I don't recall him ever being interviewed for a STAR WARS magazine). LUCASFILM has the access-lets talk to these people. Let's talk to Gary Kurtz in depth about both films- I don't think I've seen an interview with Kurtz in an official STAR WARS magazine since 1980!!!- let’s talk to Gilbert Taylor again (rather than a re-hashing of a ten year old interview!!). And what about Richard Marquand on JEDI-his contributions to the final film of the CLASSIC SAGA are also left un-explored-how about talking with his estate and his family about his work on the film (and with JEDI there is still so much to find out on its making-it's top secret making-has anyone ever seen the original shooting script for the film-of which only three full copies existed? How about a book printing?) 
So much to be explored still, so many people and their talents to be celebrated.


As this 2007 anniversary year comes to an end, let us raise our glasses in toast to all the creative talents who worked on those classic STAR WARS films, and let us also hope that their hard work is explored in greater detail in the phenomenon years that are still to come.

WE SALUTE YOU!!

STAR WARS AT 35: REMEMBERING UK EFFECTS WIZARD JOHN STEARS

British effects genius, the late John Stears.

When one looks back at the birth and launch of the original STAR WARS in 1977, everybody remembers the iconic and incredible technological leap and innovations pioneered by the American team of ILM set into being by a determined George Lucas with John Dykstra inside a garage in a seedy part of Los Angeles. But not everybody remembers the vital contributions made to that landmark film by a small team of equally talented UK effects marvels who would be responsible for the studio and location filming's challenging, equally make-or-break practical effects: things that couldn't be shot on or against blue screen and filled in later, but rather solid items/weapons/props/robots that had to be physically built for the actors to inter-act with: to walk, talk, clash, explode, or emit smoke. On STAR WARS, the pioneering individual responsible for handling the heavy script requirements to be brought to practical reality was the late technician John Stears, a veteran of his craft and one of the most respected talents of his generation, primarily well-known at the time for his prolific and acclaimed work on the early James Bond movies of the early to mid-sixties starring the equally iconic Sean Connery. Stears' singular and impressive work on STAR WARS would see all of his past skills, imagination and experience used to their fullest in late 1975/76 as he and his little army of practical technicians/long-time associates sought to bring the incredible imagination of George Lucas, and the visual renderings of Ralph McQuarrie, Joe Johnson, John Barry and Colin Cantwell, to life.

Stears (far right) and George Lucas film test shots of an early Artoo prototype at Elstree Studios, 1975.

Some of the many varied Artoo shells on location in Tunisia.

One of the Treadwell droids poses for a shot on one of the Death Star sets at Elstree.

The mammoth Jawa Sandcrawler prop/scaffold in the Tunisian desert, whose realization had key input from Stears.

Stears on location at work on the circuitry of one of the three-legged Artoo units.

Stears and colleague make adjustments to the Artoo remote controlled model - a nothing short of miraculous engineering feat for its time - at Elstree Studios.

Regarded by legendary Production Designer Ken Adam as "a brilliant engineer", presumably recommended to Lucas and producer Gary Kurtz by the London offices of 20TH CENTURY FOX (who had also provided them with other UK name talents in the field in 1975), and after the duo's original choice for the project- SPACE: 1999 effects whizz Brian Johnson- was not available, Stears work on such classic Bond films like GOLDFINGER, THUNDERBALL and YOU ONLY LIVE TWICE (all possessing varying kinds of impressive and challenging premiere effects work on land, sea, air and even outer space!), alongside a talent for using explosives, of which he was apparently one of the few motion-picture technicians in his home country allowed a license to handle them, easily made him the next best choice in the film-makers eyes to helm THE STAR WARS incredible and ambitious list of on-screen requirements. 

Fully enthused with the new sci-fi project offered to him (especially after seeing Ralph McQuarrie's awe-inspiring production paintings which the effects expert thought would be a bold challenge to realize onscreen), and admiring Lucas's work on both THX-1138 (despite its dark offbeat nature) and AMERICAN GRAFFITI (which he felt was a film more closer to Lucas's own personality), Stears was officially the first British member of the crew to start work on THE STAR WARS at Elstree Studios in late 1975 (alongside uncredited early stages Production Designer Elliot Scott and Set Decorator Roger Christian), developing the kind of prototype technology that was revolutionary back then but now seems common place and taken for granted in today's modern FX world. His first and by far most challenging task was to come up with a practical working Artoo Detoo prop which he ended up building completely from scratch into a three-legged remote controlled unit, whilst the Art Department (notably Roger Christian) additionally worked on the two-legged version eventually housing actor Kenny Baker, and later (in secret, under the request of production designer John Barry) on a filming back-up version of Artoo that could be pulled along on a fishing line and proved useful on location. Both two and three-legged versions of Artoo would be brought to life within what would be a pretty short space of pre-production time. (With additional input from the likes of outside contractors manufacturing the shells and specialised components needed.) From the development of Artoo, further droids of all shapes and sizes would be built, repainted and redressed from time to time to occupy the various landscapes and sets coming to life as part of George Lucas's specially imagined and intriguing "used universe".

Stears (left) and an unknown UK technician partake in various unused filmed lightsaber effects tests.

The final lightsabers used in studio filming of STAR WARS. Rotorized rods with light reflecting tape, the method originally considered 'Top Secret' by Stears back in 1976/77.

Trial and error. The original filmed 'death' of Obi-Wan Kenobi proves unsuccessful on film and would be optical enhanced in post production.

Further innovations to come within the world of Empire and Rebellion involving Stears input with the John Barry's art department would be the lightsabers (of which all kinds of ideas, shapes and sizes for the weapons were developed, devised and tested, before the ultimate look and way of filming them was confirmed and achieved (by way of delicate rods with spinning light reflected taped, later enhanced or replaced by optical animation from US-based artists)), Luke's above ground traversing Landspeeder (one of the practical built craft being constructed in and around the chassis of a Reliant Robin three-wheeler motor car), and the immense Jawa Sandcrawler frontage, transported out for filming in the weather changing realms of Tunisia: a scaffold prop comprising the bulky tracks of numerous scrapped German tanks, alongside working parts and steam jets which, as part of the formidable shape, quickly put the willies up the Algerian army with its presence during the original March/April 1976 location filming.

The full-size X-wing fighter at Shepperton, soon needing to rise into the air!

Stears confers with a colleague by the singular fully built X-wing fighter.

Another large prop, the singular, specially built X-wing fighter, would also need Stears help and service later on that Summer at the huge Shepperton Studios facility, as the technician organised the use of a huge building crane to lift it into the air as a lead-in to the all-important Battle of Yavin seen at the end of the film.

The tremendous explosion concocted by Stears for the action-packed opening of STAR WARS!

Beyond droids and speeders, Stears would further lend his skills to the films many impressive laser battle pyrotechnics and was most noteworthily responsible for the epic blast that launched the Imperial Stormtroopers into the Rebel Blockade Runner at its start-an explosion so big and loud, though mis-timed apparently, spectators recalled it shook and almost demolished the lime green corridor set around them (as well as almost ending Stears life and career indefinitely!), and would be well remembered by the actors and stuntmen playing friend and foe. Just watch the final film and see for yourself how big that on-screen blast actually is: the debris that shoots past the camera and the shock on the Rebel soldiers faces as it goes off. No fear acting required - this was the real thing! (Only a few months earlier, Stears had also almost destroyed the Death Star cell bay elevator entrance too, due to a similar mixture of explosives, though ultimately blaming the set creators for making the set from weak materials!)

Stears accepts his 1978 Academy Award for STAR WARS, alongside the US effects team headed by John Dykstra (far right).

For the behind the scenes crew making STAR WARS, and especially George Lucas, problems and delays from the practical special effects became irksome (most notably with the often out of control droids wandering on and off whilst also crashing into things, due to radio control problems), alongside some practical failures that had to have solutions realised in costly post production (like the ultimate disappearance of Ben Kenobi into the Force after his duel with Darth Vader), with Stears taking the brunt, but nonetheless the final on-screen results achieved by all concerned proved worthy of the toil and trouble, of which the UK veteran would join his American counterparts in winning a well-deserved Academy Award for the films ultimately incredible and audience acclaimed effects in 1978. (His only pity, he recalled at the time, being that his entire dedicated crew working at Elstree couldn't equally have been given the awards/recognition they deserved.) Stears would later be disappointed that American effects supervisor Dykstra would claim sole credit for the onscreen realisation of the lightsaber for the original movie (the US rotoscope animation work having enhanced the UK shot blade work in post production).

John Stears' special trade paper 'Thank You' to his UK crew and team mates who had worked on the original Star Wars' practical effects.

The next big-league project on the cards for Stears in 1978 was to have been the sci-fi horror classic, Alien. Enjoying the early script and personally finding it superior to Star Wars, he was excited at working on the film's model and practical studio work, yet the project ultimately went to his UK rival Brian Johnson (with Nick Allder), presumably due to internal politics at the studio/ behind the scenes, or due to director Ridley Scott, a tough man to work with, wanting to pick his own team/s.

Despite the loss of Alien, Stears at least had the next film in The Adventures of Luke Skywalker-then only known as STAR WARS II- to look forward to. Having believed he had developed a prior good rapport with Lucas (often sharing a car to the studios with the director and exchanging many conversations) Stears was hoping to be ready for more pre-production time for II to do an even bigger and better job for the first sequel. Surprisingly, there was more personal disappointment to come- the veteran was not selected as part of the original core team returning to work on the film series, either: the producers instead relying on the aforementioned UK (and US co-partner) practical effects supervision of the now available, and equally talented, Brian Johnson. (Perhaps Johnson was seen as someone whom Lucas/Kurtz may have felt was a younger and more hip kinsman to them, rather than Stears, who, post his duties on the original Star Wars, could have been seen as being too 'old school', perhaps too much of the elitist guard of homegrown British filmmakers who had caused so much behind the scenes ire to Lucas/Kurtz back in 1976?).

Despite some mild and brief behind the scenes friction between Stears and Johnson linked to the 1979 upcoming production of the new film (soon titled THE EMPIRE STRIKES BACK), regarding the remote controlled Artoo design and re-development/improvements, the former, with his further Oscar clout from the original Star Wars under his belt, eventually made his way States-side to resume a continued, noteworthy effects career (including working on such cults hits as THE MARTIAN CHRONICLES (as Second Unit Director and Effects Supervisor for the lengthy three-part mini-series filmed on location likely around the same time as EMPIRE was in production) and Sean Connery's HIGH NOON in space, OUTLAND). Later into the early nineties he worked on another big league sci-fi saga, the pilot episode of the BABYLON 5 TV series: The Gathering, before his sad passing at the young age of 64 in 1999.

John Stears: 1934 - 1999

His contributions to the original saga continuing to resonate with audiences of all ages in this 35th Anniversary of the original STAR WARS, the name, work and legacy of John Stears lives on within the magic of movies...

For more detailed information on John Stears work on the original STAR WARS, check out the AFICIONADO special issue dedicated to THE  MAKING OF STAR WARS: A NEW HOPE, here:
STAR WARS AFICIONADO MAGAZINE SPECIAL: THE MAKING OF STAR WARS (1977)

With thanks to Chris Baker for selected stills.

Rare John Stears behind the scenes feature from 1977: 

Star Wars Special Production and Mechanical Effects | Modern Mechanix

CLASSIC IMAGE: HIGH ABOVE MOS EISLEY!

March/April 1976: On a Tunisian mountain within whats now known as STAR WARS Canyon, Mark Hamill, Sir Alec Guinness, and Anthony Daniels get ready to film a scene where our heroes look down towards the wretched hive of "scum and villainy" that is Mos Eisley space port (note Stills Photographer John Jay taking vista shots of the canyon, presumably for possible matte painting/photo background reference). The camera angle looking forwards from Luke's Landspeeder never made the final cut, instead replaced with a matte composite plate shot put over a wide image of California's Death Valley, filmed by Lucas and a small Second Unit later in STAR WARS 1977 Post-Production.

As seen from the other side: note Gary Kurtz taking the photo and John Stears laying besides Artoo. Image: via Filmumentaries site.

Angle as seen from rear camera, not in finished film. If used, the Mos Eisley matte would have replaced the foreground.

CLASSIC IMAGE: DROID TESTING

Here's some fun late 1975 (?) screen grabs of behind the scenes footage, presumably shot at ELSTREE, of UK practical special effects co-ordinator John Stears (the Oscar winning technician behind the early James Bond movies, I might add!) and George Lucas testing the droids that will eventually be used for upcoming filming for the STAR WARS Jawa droid sale in Tunisia in March 1976 and then through various scenes at ELSTREE afterwards.

The footage also shows an early test for a silver Artoo Detoo (there's someone in it who looks like hes wearing some kind of protective nappy?!) - we're not sure if its Kenny Baker in Artoo or not during this screen test filming (credited to Gilbert Taylor, about to finish his director of photography work on Richard Donner's horror film THE OMEN). Not all of the droids that Stears and his team constructed for filming, many of which would be re-painted and re-dressed over five months, actually made it into the finished movie-it would be intriguing to see the stills or deleted footage of those lost droids...

A selection of John Stears droid creations on the Death Star hangar set during early Summer 1976 (note the left middle Treadwell used for the deleted Tunisia scene with Mark Hamill).