CLASSIC McQUARRIE: SENTINELS OF HOTH!

With their heavy weaponry and regular Tauntaun patrols, the Rebels maintain constant vigilance across the blue-tinted Hoth landscape, ready for action, in this lovely Thailand poster art from 1980 promoting The Empire Strikes Back, using the great Production Painting work of Ralph McQuarrie that helped make the film such a uniquely different entity to the original Star Wars.

It was an image that was also adapted and used in the Al Williamson and Carlos Garzon Marvel Comics adaptation of the iconic saga entry.  

EPISODE I: BATTLE ON THE PLAINS!

The battle between the heroic Gungans and the evil Trade Federation Battles Droid legions reaches a fiery escalation on the plains of Naboo, in another great conceptual art piece by Doug Chiang for EPISODE I.

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.

'JEDI' AT 40: NEW EMPLOYMENT!

Now finding themselves employed to Jabba the Hutt's cruel services, Threepio and Artoo are soon herded by Gamorrean Guards to the palace's doom-laden droid dungeon, where, amongst the litter and carnage of destroyed and tortured protocol droids and astro units, they encounter the menacing droid master EV-9D9, who swiftly assigns Threepio to ongoing duties as an interpreter droid. Meanwhile, Artoo heads to Jabba's unique sail barge for a role that it will prove well suited for...

Lovely production painting art by Ralph McQuarrie used within his later Return of the Jedi portfolio, as well as numerous types of promotion linked to the film by 1983.

CLASSIC IMAGE: SLAVE 1 DEPARTS!

 

Arriving too late at Cloud City's East Platform, Leia and Lando can only look on as Boba Fett makes his escape on Slave 1, with his 'special cargo' aboard in the carbonized Han Solo. A great storyboard for The Empire Strikes Back whose scene location would be altered visually by the time of Summer 1979 filming at Elstree Studios...

The shot has similarities to this exciting production painting done by Ralph McQuarrie for the scene, which shows Chewbacca and Leia breaking glass to shoot at the departing vessel.

Ralph McQuarrie's final painting from September 25th, 1978.

'ATTACK' AT 20: DOOKU's DEPARTURE PLAN!

It looks as if he's retreating from a losing battle with the newly arrived Republic forces, but Count Dooku's real goals for the Clone Wars, in his true guise as Darth Tyranus, are all proceeding to plan. Now ready to leave Geonosis, the confident Sith soon realises, however, that he's being pursued by the Jedi...

Behind the scenes.

Ryan Church artwork for the scene of Dooku and his pod fighter escort leaving the Geonosian underground hangar.

'JEDI' AT 40: ENTERING THE DOMAIN OF JABBA THE HUTT!

The shield door to Jabba's palace has opened and a bold Artoo has trundled forward only to be barred by the intimidating shape of bulky Gamorrean Guards. Soon enough, the Astro Droid and Threepio encounter Jabba's 'Major Domo' in the Twi'lek Bib Fortuna, soon wanting the truth about the droids unusual visit.

A gorgeous scene production painting by Ralph McQuarrie that was effectively used as early publicity for the then Revenge of the Jedi back in late 1982, appearing in numerous sci-fi film mags of the time keen to publicize the eagerly-awaited film.

The sequence as captured in Al Williamson and Carlos Garzon's MARVEL comics adaptation of the film in 1983.

Early concept art for Bib Fortuna by McQuarrie.

Another McQuarrie idea.

Art by Nilo Rodis-Jamero.

Final locked in design by Phil Tippett. Art by Nilo Rodis-Jamero.

CLASSIC ART: JAR JAR OF THE DESERT!

Departing their sleek ship, the Naboo Royal party and their intense Jedi protectorate have newly arrived on the outskirts of Mos Espa on Tatooine, and now the Gungan goofball Jar Jar Binks must get used to the twin suns heat and the hostile desert realms. Lovely production painting art, rarely seen, by Doug Chiang, for EPISODE I.

ROGUE ONE: VAULT ACCESS!

Jyn braves the dangers of the electronic retrieval vault and its fast-moving droid operators (almost like spiders) on Scarif, looking for the 'Stardust' files pertaining to the Death Star schematics, in this terrific production painting/concept art for Rogue One - A Star Wars Story by veteran SW talent Vincent Jenkins. 

AN 'EMPIRE' AT 40: ENDING THE CELEBRATION!

Another striking production painting from Ralph McQuarrie, of our heroes bidding farewell to the Falcon.

It's certainly been a busy, epic year and a half in the making, but we hope you've enjoyed STAR WARS AFICIONADO's truly exhaustive Fortieth Anniversary coverage of a very special film: The Empire Strikes Back.

Thumbnails work for the production painting.

AN 'EMPIRE' AT 40: IN THE SAFE HANDS OF FAMILY...

Inside the Medical Frigate, Luke has his injuries - an early script indicating a new replacement left arm comprising metal struts and electronic components - looked over by a Medical Droid, where once again, Princess Leia (back to wearing her original Star Wars hairstyle) is by his side through this difficult and painful time.

As seen in this production painting by Ralph McQuarrie, Luke was to have originally received his lightsaber injury from Vader to his left side, especially as Mark Hamill himself is left-handed - indeed, an unfinished hand cast was done of Luke's left hand at Elstree by Stuart Freeborn and his team. (Freeborn eventually auctioned it off to a private collector.) This idea was ultimately changed by Summer 1979 filming -  instead, Luke lost his right hand, and with a new casting of Hamill's right hand achieved.

AN 'EMPIRE' AT 40: DARK LORD'S REVELATION...

The lead-in to one of the most memorable and classic moments in Star Wars and movie history captured in this striking production painting, used in a wealth of merchandise and an early teaser trailer for Empire in 1979, by Ralph McQuarrie. As seen here, in early story development, Luke had not lost his hand in the duel.

AN 'EMPIRE' AT 40: BATTLEGROUND PLATFORM!

The epic battle of our heroes to escape Bespin's Cloud City is stunningly captured in this production painting art from Ralph McQuarrie, circa 1978/79.

AN 'EMPIRE' AT 40: THE DARK LORD'S FURY!

Vader begins using the Force to haul objects of all sizes and weights as projectiles towards a soon overwhelmed Luke Skywalker, as seen in this great production painting art by Ralph McQuarrie.

The early stages of art creation.

Thumbnail duel concept art.

AN 'EMPIRE' AT 40: THE DUEL - BY MCQUARRIE!

The duel between light and darkness we'd all been waiting for, spectacularly rendered within the confines of Cloud City's Carbon Freeze Chamber, in two great production paintings by Ralph McQuarrie crafted to additionally showcase and compliment Production Designer Norman Reynolds striking new set designs for the film.

AN 'EMPIRE' AT 40: WITHIN CARBON HELL!

Arrived in the carbon freezing chamber, Luke Skywalker awaits his destiny in facing the man/creature who killed both his father and mentor in Obi-Wan Kenobi, Darth Vader, in this great production art from Ralph McQuarrie. Ultimately, McQuarrie's interior design wasn't to be used in The Empire Strikes Back. Instead, UK Production Designer Norman Reynold's circular level and walkway outcroppings concept replaced it, primarily because its greater expanse opened up the potential for more physical action sequences and atmosphere to be created during Luke and Vader's epic lightsaber duel.

Set maquette for the ultimately unused first design for the Carbon Freeze Chamber.

AN 'EMPIRE' AT 40: PRISONER OF THE EMPIRE!

Captured by Imperial forces, Han Solo awaits his fate inside the force fielded Bespin Cloud City holding cell, whilst Boba Fett, Darth Vader and Lando Calrissian confer, in this highly detailed and elegant production painting art from Ralph McQuarrie that was never used for the final set to have been created at Elstree Studios for the dramatic scene, presumably for cost and set space availability. A smaller set that could be used for both the torture and prison rooms would ultimately be created by Norman Reynolds.

AN 'EMPIRE' AT 40: DROID DISCOVERY!

Han Solo isn't too worried about Threepio's sudden disappearance from their presence, but Leia's own concerns prove right when Chewbacca returns with the droid's all-to-pieces remains, having valiantly rescued 'golden rod' from a fiery demise, in this great Ralph McQuarrie production painting.

AN 'EMPIRE' AT 40: A CITY IN THE CLOUDS!

Han Solo enjoys the Cloud City scenery, as detailed in an early script draft.

The stunning beauty of Cloud City, and its outdoor air traffic, is once more effectively showcased in this great art by Ralph McQuarrie. Though his concept final for the Bespin apartment occupied by Princess Leia and Han Solo wasn't used in the original 1979 movie (for reasons unknown), UK Production Designer Norman Reynold's circular set design interior would nonetheless adhere to its interior (including its roof ceiling). By the time of the1999 Special Editions onwards, George Lucas would have the McQuarrie exterior reinstated within his plans to open up the Bespin/Cloud City location more with the new CGI technology available to ILM.

The original matte painting for the Bespin apartment exterior.
 

Revised for the Special Edition onwards,

AN 'EMPIRE' AT 40: FRIENDLY WARNINGS!

Production painting for the departure scene by Ralph McQuarrie.

The vision of his captured friends has been deliberately crafted and intensified by Darth Vader to lure Luke Skywalker to the 'City in the Clouds', and he's succeeded. Against the advice if the wise Master Yoda and the unexpected physical appearance of Obi-Wan Kenobi, Luke now prepares to abandon his training, jet off Dagobah and try to help his friends at Bespin. 

Now, matters are indeed worse, as depicted in this great production painting art by Ralph McQuarrie.

Ivor Beddoes storyboards for the departure scene showing Luke loading his equipment.

In filming of the scene around August 1979, Sir Alec Guinness was not yet available to play Obi-Wan Kenobi (of which contractual negotiations were still being confirmed) - his character added on during later-to-be-shot insert filming, resulting in a member of the crew voicing Kenobi's dialogue in the esteemed actor's absence. An hilarious little incident also saw Hamill sneakily bitten by a snake he was handling hen removing it from one of the X-wing fighter engines pods, the actor hilariously referring to the bite as "a little love peck"!

Luke confers with Yoda in deleted dialogue before attending his X-wing.

Luke is warned that patience is needed or he could find himself becoming 'an agent of evil'.

Luke removes a snake from the fighter engine. Behind the scenes it gave the actor 'a little love peck' bite! 

Sir Alec Guinness filmed his scenes with Irvin Kershner separately from Yoda during one day's lucratively paid filming at Elstree in September,1979. Note the lighting stand-in wearing Obi-Wan's cloak.