Showing posts with label SIMON AND SCHUSTER. Show all posts
Showing posts with label SIMON AND SCHUSTER. Show all posts

Wednesday, 15 May 2013

CLASSIC REVIEW: 'STAR WARS - THE COMPLETE VADER' BOOK



THE COMPLETE VADER

By Ryder Windham and Peter Vilmur

Published in the UK by SIMON & SCHUSTER BOOKS

Reviewed by Scott Weller



DEEP IN THE PRESENCE OF EVIL…


In the romantic, adventurous and exciting storytelling worlds of ancient and modern myth there has always been some great challenge or dark force for the central hero to overcome. This dark force may come in many forms, but chaos, death and destruction will certainly follow in its wake. A tangible evil we all recognize from the bleakest areas of our minds and imagination. Over the years such creatures have transcended their original storytelling environments and, throughout the imaginative renderings of both the written word and the visual medium, have impacted on our modern culture, latching themselves into our consciousness, often providing clarity and enjoyment in teaching our growing young ones about life and responsibilities. Beyond education, we simply enjoy the timeless stories and often return to them for the purest escapism that they provide. But no characters or stories, past or present, have ever touched the imaginations and lives of so many people than the modern mythology created by George Lucas that is STAR WARS. In our modern times, it has become the ultimate new expression of myth making, with its own universe, drawn from so many recognizable aspects of the past yet singularly unique in its own right, of heroes versus villains, and goodness versus darkness that we can similarly relate to, of which there is one particular baddie whose exploits for evil have captured the world’s consciousness as easily as if they had been caught in his own vice like Force powers. A character so defining that, if he could be transported back in time to the original creators of the myths upon which STAR WARS was based, they would surely be amazed and inspired by what has spawned from their works.

Darth Vader.

Darth Vader-Dark Lord of the Sith, is one of the most unique and complex characters ever created for cinema, his sheer physical presence intimidating all that surrounds him, his terrifying visage haunting the faces of his victims, and his raging abilities for evil helping to subjugate a universe, whilst his own personal crusade in destroying countless lives and planets serve his idea of the greater good for the Dark Side of the Force. And yet, even with all this destructive power, there is more to this man/creature than meets the eye- in a previous life/history Vader had once been Anakin Skywalker- a child slave turned hero who, despite his best efforts, eventually strayed from the light and was seduced by evil, and whose ultimate redemption comes not from within, but thanks to the subsequent discovery of his son, Luke Skywalker, and the boys subsequent belief in his fathers deep buried instincts for goodness. Not unlike the tragedies of ancient Greek storytelling, it would be in that final critical reunion of father and son that Vader would see the terrible error of his ways, correct his past horrific deeds by destroying his Master and himself in the ultimate act of self sacrifice, for both his honour as an ex-Jedi and for his family.


Such an incredible tale of power, destruction, tragedy and eventual enlightenment has captured the hearts and imaginations of so many people over the years, with Vader’s popularity as a force for good and bad, the ultimate Alpha to Luke Skywalker’s Omega, remaining undiminished in its central storytelling, with Vader’s popularity still resonating over thirty two years worth of worldwide pop culture. Now, a new glossy hardcover book, THE COMPLETE VADER, has been released that has ambitions as mighty as the Dark Lord himself, delving deep into every facet of the character and its place in the cinema and beyond. Can such a tome possibly live up to our expectations?

Regular official LUCASFILM contributors Peter Vilmur and Ryder Windham have previously proved themselves to be a safe and reliable pair of hands, and now guide us through this unique media history, though, despite its strengths, as a member of this legion based appreciation society of the Dark Lord of the Sith, THE COMPLETE VADER isn’t quite the exhaustive book I had been longing to read.

With its opening sections it certainly shows promise, and the double authors’ enthusiasm for the subject matter cannot be faulted. With Vader’s genesis comes some interesting behind the scenes info linked to all six films, but it is merely adequate rather than being thoroughly in-depth. Representing Vader’s behind the scenes presence in the Original Trilogy is material on the creation of the character’s striking visual appearance, the enduring costume and mask (finally, an official mention by LUCASFILM of UK sculptor Brian Muir who built/cast the helmet, with input from the late Production Designer, John Barry) and the casting of actor/muscle man Dave Prowse (a serious error to be corrected here-for the record, Prowse has never been Welsh. He’s a Bristolian from the West Country side of England!!), but considering how Windham and Vilmur are officially working for LUCASFILM, have almost unlimited official access to the archives and are in the unique official position to interview the talented craftspeople who worked in front of and behind the camera to bring the character to life, this element of the book linked to Vader’s unique genesis is woefully lacking (and, as ever, with events thirty years on, there are some behind the scenes filming inconsistencies, too). On the photos side, apart from a couple of interesting shots there is pretty much a complete lack of rare behind the scenes photo material linked to the filming of the Original Trilogy-an element that I thought would be represented in quite a big way in the project. There’s also virtually nothing on any of Vader’s cut scenes from the original three movies, the barest of mentions for THE HOLIDAY SPECIAL, and, despite a couple of brief merits and a full page art cover reproduction, still not enough on the important first Expanded Universe novel, SPLINTER OF THE MIND’S EYE, by Alan Dean Foster, of which Vader makes a critical appearance.


To its credit, though, the authors are brave enough to finally come out and confirm the problems between actor Dave Prowse and LUCASFILM during the making of RETURN OF THE JEDI-the first official book from LUCASFILM to talk about such problems- though Windham avoids much of the resulting fallout from the controversy by only presenting Prowse’s side of the story. I don’t think we’ll ever get a response back from LUCASFILM about what happened in 1982-the full truth of the situation will never be totally revealed at all. Thankfully, the written/visual material beyond the opening sections is much better-there are some interesting new snippets of information that help fill in the blanks of Vader’s history in merchandise and public appearances, and some nice info on nostalgia of the time, like fanzines and rare interview quotes that I hadn’t seen before.

Beyond the original first film, the book charts Vader’s deserved rise to prominence by THE EMPIRE STRIKES BACK (with an interesting section on the top secret decision by George Lucas of making Vader Luke’s father-and how its subsequent revelations and ramifications would affect past and present STAR WARS continuity and its Expanded Universe forever more), his redemption in JEDI and then his rebirth as the sagas most recognizable, popular and character complex villain.

The overall printing of the book is very good and the crisp reproduction quality of the materials is excellent, with some great full page reproductions and gatefolds of key images and artwork from the saga and its merchandise, as well as some rare unpublished artwork (kudos to the design team for the fantastic black and white spread on the late 1990’s MANGA comic art of Vader, originally linked to the Japanese release of the SPECIAL EDITION adaptations. Very cool!!!). Some special collectible keepsakes are also included, reproduced here in the same manner of the previous THE STAR WARS VAULT book from Steven Sansweet, including copies of the original “I am your father” script scene written by Lucas for the first draft script treatment of EMPIRE (AKA STAR WARS II) from 1977/78, replicas of original TOPPS bubblegum cards and stickers, some very rare images/sketches of costume art by the esteemed Ralph McQuarrie and John Mollo from 1976, and instructions from LUCASFILM on how public appearance actors playing Vader are to put on the costumes various pieces, though annoyingly, some of the rarer images in the book are used way too small-like unused poster art concepts for EMPIRE which I’d never seen before (perhaps we’ll get that wish in the upcoming J. W. Rinzler MAKING OF EMPIRE book?).

In between and after the films, the book goes into many varied sections spanning thirty two years, covering fascinating areas of Vader’s presence as a worldwide media force, with further notables including Vader as an action figure since 1977 (with the brilliant inclusion of an early KENNER blueprint for his reference/construction), his unique TIE fighter and its place in the merchandise industry (with a couple of great shots of the fighter, but no real schematics images), the lightsabers used by both Anakin Skywalker and Darth Vader (and the various incarnations of the device in merchandise), his Rolling Stones/Beatle-mania type of personal appearances across America (though very little on the overseas promotions) between 1978-1982 (three cheers for Kermit Eller!!), poster art, Vader video games, and noteworthy comic book appearances. The early hit and miss toy market for Vader in the release tails of the first STAR WARS is especially interesting, as are the merchandise rip offs that hit the market in 1977/78 when the first film became a smash phenomenon. From the Prequels onwards, toys would become more serious in nature, no longer just confined to the ranks of the TOYS ‘R’ US shelves, as new STAR WARS items, especially those linked to Vader, became more specialized and limited edition in number for serious collectors to present and enjoy in their homes, though there would also be fun branch offs linked to the character in other areas of toy pop culture-notable examples being the hilarious Darth Tater and, one of our faves, Darth Stewie from FAMILY GUY.

And yet, despite all this great media material coverage, there are still some notable exclusions from the book, including two UKhighlights: Peter Serafinowicz’s TV show VADER IN LOVE sketch, or the TUNES cough sweet advert. And no mention of the hilarious ENERGIZER bunny/ Vader duel, or the EPISODE III UK/European ORANGE PHONE company commercials!!??


As the book navigates its way through to the nineties, Vader’s return back to the big screen in the STAR WARS TRILOGY SPECIAL EDITIONS in 1997 is as popularity renewing as ever, but also sees the character undergo the first part of a transitional stage, as his true origins, after years of fan speculation, are finally revealed two years later, and we get a better understanding of what made him become the figure of evil we know and love to hate today. We are now presented with an even more complex character with the birth of the Prequel Trilogy-over the years Lucas had become intrigued in what could make someone good become evil, and introducing the concept in story strands that will take him on that road-the idea of showing Anakin Skywalker as a nine year old child, purest of heart and kindness, a slave turned hero, traumatically forced to lave his cherished mother on Tatooine- elements that would strike a resonant chord with the sagas creator and its many fans throughout the world and then intensified in EPISODEs II and III, as Anakin, now a Jedi ten years older, gets sucked into the conflict of war before finally, through his inability to let go of the things he has cherished so dearly, evolving into the very thing he had fought against all his life, becoming the ultimate enslaver, and the ultimate henchman, for the Galactic Empire’s diabolically evil mastermind, Emperor Palpatine, by the closing scenes of EPISODE III: REVENGE OF THE SITH.

Including a noble detour into the 2-D realms of the animated CLONE WARS series, the Saga comes full circle in 2005 with a basic delve behind the scenes into Hayden Christensen’s emancipation as Vader for REVENGE OF THE SITH, and then continues on with the highly popular THE CLONE WARS 3-D animated series from 2008 onwards, showing the return of Anakin at the height of his heroic Jedi powers, but with the Dark Side very slowly trickling in to his character. The book ends here, but with some tantalizing info on the future of STAR WARS in television, predicting how, one day, the Dark Lord might possibly return…

Vader’s life story on digital and celluloid may be over, but he lives on in the public’s imagination, touching the lives of young and old fans throughout the world, especially the former. It’s funny, but Vader’s popularity with them proves an intriguing insight into all our collective consciousness. The Dark Lord of the Sith is one of the ultimate scary characters, the STAR WARS Boogeyman, but, like Velociraptors or Tyrannosaurus Rex, kids (and adults) love to be afraid of him. They are in awe of such frightening visages and their tremendous physical powers. Vader, like the extinct dinosaurs of old, are the stuff of nightmares that, fortunately, don’t exist in real life, so there’s an automatic emotional protection barrier in liking them-the fact that they can never become a true reality, except on film screens. And it certainly doesn’t stop the kids from happily going to bed at night and resting their heads on pillowcases with Vader, or even Darth Maul’s, face adorned on them!! In it’s abilities as an entertainment medium, the Dark Side of the Force seemingly transcends all ideas and psychologies!

Now one of the kings of worldwide pop culture after Marilyn Monroe and Elvis Presley, Vader has also become an art form, too, spreading beyond his original design in many forms of merchandising, like the STAR WARS CELEBRATION conventions Vader Helmets art exhibition and his Japanese warrior tribute/re-imagining. And let’s not forget the all consuming popularity of tattoo art that has borne his visage. Beyond even all of that, he’s so iconic and beloved that he’s had species of beetle and wasp named after him!! How’s that for worldwide immersion!

So there we have it, a book that looks at the two sides of Darth Vader in movies and in merchandise-one, the ultimate screen villain- the eternal baddie that we love to hate, the other one of cinema’s ultimate screen heroes- a once powerful force for good whose passion and need to protect his loved ones ultimately gets the better of him, trapping him on a dark path. Fortunately, there is fusion and redemption for Anakin/Vader, making the dual character both eternally fascinating and equally compelling in all his facets.

Almost the quintessential guide to the ultimate heavy breather, THE COMPLETE VADER is a very good book on the subject but, as I previously indicated, not as definitive as hoped (there are a further few little quirks, too-I spotted at least one caption error (apparently, the result of a late change of image by the author/s), but I can forgive that in such an ambitious project). Despite some faults, this is certainly a treasure trove for all Vader fans worldwide to enjoy and savour, and a far better showcase for the character than the magazine tribute to him that was launched to coincide with the release of REVENGE OF THE SITH back in 2005.

A character whose presence and popularity will always be assured, Darth Vader, like STAR WARS itself, is forever…


AFICIONADO RATING: The book works best in its second half as a merchandise history/ timeline guide rather than looking at the characters original, unique behind the scenes creation and filming, but, with its rare material and a nicely designed interior, THE COMPLETE VADER is one of the best STAR WARS books to have been released in 2009. A great birthday or Xmas present this will be, but one best given in black wrapping paper for maximum effect! 8.5 out of 10

Monday, 6 May 2013

AFICIONADO CLASSIC REVIEW: 'THE STAR WARS VAULT' BOOK




THE STAR WARS VAULT

By Stephen J. Sansweet and Peter Vilmur

(SIMON AND SCHUSTER BOOKS-2007)


Reviewed by SCOTT WELLER


Christmas has come early for me more than a few times this year, firstly with the MAKING OF STAR WARS by J.W. Rinzler, Lorne Peterson’s lovely SCULPTING A GALAXY epic, the amazingly beautiful ART OF RALPH MCQUARRIE hardcover (if you can beg, steal or borrow this from somebody, do so- I recommend it-though not the stealing part, obviously!!) and the gorgeous continuing series sets of black and white photography from the first three films released by OFFICIAL PIX. Now, to round off things with a nice warm glow is the STAR WARS VAULT, a densely packed, beautifully produced book of thirty years of STAR WARS goodies and nostalgia compiled by the unstoppable, unceasing Imperial Walker-like veteran of STAR WARS collecting that is Mister Stephen Sansweet (with the additional help of his Poster Book collaborator, and also equally dedicated purveyor of all memorabilia-Peter Vilmur)

Trying to encapsulate so many memorable events in STAR WARS history, as well as pieces of one off memorabilia too, into a finely compiled product can’t have been easy task (hey, y’know, somebody had to do it!!), but Sansweet and Vilmur have created a book that easily matches, and surpasses, Sansweet’s own similar 1990’s foray into the past:  THE STAR WARS SCRAPBOOK.

And upon opening this hefty work, not quite as muscle creating as THE MAKING OF STAR WARS was to hold and read, but potent nonetheless, my eyes were soon agog at the vast selection of rare and previously unseen items that it’s well sized pages display. Amongst some of the lovely key photographic material are a plethora of ground breaking moments, including a shot of a so very young and enthusiastic Mark Hamill, Producer Gary Kurtz and publicity guru extra-ordinare, Charles Lippincott, at one of the early US science fiction conventions plugging STAR WARS to an at first bewildered, though soon rapidly interest peaked, fan community in 1976 (and the World Con info and photos, also from that year-how incredible is that photo of the first exhibition of STAR WARS props and costumes-if I had been at that event and seen those actual filming costumes of Threepio, Darth Vader and Artoo, and all that Ralph McQuarrie art, at the age of six or seven, I can tell you I would have been blown away-hooked immediately into seeing the film (in the UK, my first taster of the film, my introduction to a love affair that has lasted thirty years so far, was some black and white pics in PHOTOPLAY magazine!!), Lucas and his friend Caroll Ballard on pick up location photography insert filming at Death Valley in January 1977, and Hamill in his best Rebel winter fatigues, outside the avalanched in ski-ing hotel in Finse, Norway in 1979. Other photographic gems include reproductions of very rare items like the 1976 black and white souvenir photo book, including on-set stills taken by Gary Kurtz and John Jay, given to selected cast and crewmembers on the ELSTREE sets as a thank you present by Kurtz and George Lucas in 1976 (beautifully reprinted, THE VAULT sadly only reproduces a small selection of the booklet-perhaps we’ll see the others in a later edition?). And what about the mysterious STAR WARS SPECTACULAR that only played in Japan-well, we finally get some more photos and information on the event (oh my, I’d love to see some footage-it’s probably stark raving mad, presumably on a par, or beyond it possibly, with the HOLIDAY SPECIAL. But doesn’t it look wonderful!! And isn’t it strange how, of all the mediums STAR WARS has appeared in over the years: TV, film, radio, etc-it hasn’t yet found it’s voice in the world of the theatre-either as a musical (which almost did happen at one point), or as a straight forward adaptation/original family audience type drama-if PLANET OF THE APES could have a stage show adventure in London during the early 1970’s, then STAR WARS can too in my book!!))


On the artwork side, other pieces to salivate over include TWENTIETH CENTURY FOX’s various early publicity/marketing attempts and mock ups created in order to try and sell STAR WARS to an audience they didn’t think would be interested in seeing science fiction and space fantasy (one superbly illustrated piece, we believe by Tom Jung, even has a caption that sets the movie in the year 3000!! Presumably a time statement put in by a desperate film-company in order to give STAR WARS some kind of connection to filmgoers), as well as some great info on the marketing of the film-the unused tag lines and visual concepts for the posters-I particularly liked the image of Luke Skywalker with the large Stormtrooper face dominating the background- a nice change from the routine use of Darth Vader as the primary protagonist of the film, 
the earliest piece of pre-production art done for the movie by the esteemed Ralph McQuarrie, the actual picture of the box which has “reel 2 dialogue 2” displayed on it from AMERICAN GRAFFITI, which inspired Lucas to come up with the Astro Droid’s naming, and several pages of Lucas's handwritten, excellent original storyline for THE EMPIRE STRIKES BACK, from November 1977 (which also includes lots of the abandoned plotline of the Wampa attack on both Luke and, later on, the Rebel Base). The nine year period, so far, of the Prequels are also covered within the books thick pages, though obviously not in as much detail as the huge amount of material, spanning thirty years, devoted to the originals (and also don’t forget, this book has been compiled, we understand, from only the first batch of boxes in Stephen Sansweet’s personal archive- there’s still more to be opened up and explored!! YIPPEE!!)

Some other things I wasn’t even aware burst out from the book to surprise and delight, like the fact that, in the UK, the CLARK’S shoe company had a range of sneakers for kids in 1978-why the hell didn’t my folks get me these!! (I’m gonna have to have a word with them about this (!!), and to LUCASFILM a message: how about some trendy sneakers for adults to wear in the year 2007!!). The LSO/John Williams concert held at the London Royal Albert Hall in February 1978, co-inciding with the film’s proper release in the UK, was equally just as much an eye-opener- did anyone out there ever go to that event? If so, please get in touch and tell us all about it!!

And then there’s all the other fold out’s and removable fun items, like the UK LETRASET transfers, STAR WARS Production Notes for the press and the first preview screening invite for STAR WARS in 1977. Even Director Richard Marquand’s dance steps for Ewok dancing for the finale celebrations of RETURN OF THE JEDI!! And why can’t film companies do beautiful promotional leaflets nowadays like the ones they did for the STAR WARS and EMPIRE re-release in 1981-absolutely gorgeous!


Of the lovely Prequel items of note, look out for reproductions of the London Six Film STAR WARS screening ticket from May 2005, a beautifully designed art neuveau PHANTOM MENACE advance screening ticket for LUCASFILM employees, and lovely, and equally rare, ATTACK OF THE CLONES and REVENGE OF THE SITH storyboard/conceptual art reproductions

And there’s still more! Including stickers, miniature reproductions of comic art (like the excellent 1979 Russ Manning work for the US syndicated papers), letters from the BANTHA TRACKS/STAR WARS fan club, survey sheets from 1977 (as to whether a preview audience liked STAR WARS) and 1983 (with people asked if they preferred REVENGE OF THE JEDI or RETURN OF THE JEDI as a main title!!), and let’s not forget those two free CD’s accompanying the book, either-now we can listen to Carrie Fisher give it all she’s got as she belts out her awful “life day” song from the HOLIDAY SPECIAL (a television “event” from 1978, which, amazingly, has nice coverage in this book. With the additional photos of the programme used in the recent TOPPS CARDS Anniversary series, and now this, are LUCASFILM starting to grudgingly accept it’s place, for good or bad, in the Saga?), as well as unusual radio commercials and intriguingly nostalgic 1977 interviews with the films main stars both prior and during STAR WARS original release (including Hamill, Harrison Ford, Fisher and Sir Alec Guinness (who, at that time of talking, still doesn’t really sound sure of what to make of it all!)).

Finally, don’t forget that Yoda cooking recipe sheet that comes free with the EMPIRE STRIKES BACK radio adaptation publicity! I bet the final product smells de-li-cious!

The book is so eye catching-very nicely laid out and never over cluttered. As inherent with THE MAKING OF STAR WARS, there are still some reproductions on the page that are too small, but, with a book of the size, you can’t have everything. One other minor niggle is that there isn’t as much European material on the films within the book (wouldn’t it be great to see French, German and Spanish rarities)-let’s hope there’s more of that in Volume Two.

Yes, there has to be another one, surely!! I’m drooling at the thought of all that other stuff to come from those other mysterious boxes of delight (whose history and magic is worthy enough of having a fictional book written about them, by someone like Roald Dahl!!) to be found at the Sansweet collection. Somebody get me a bib over there!!!

To round off, THE STAR WARS VAULT is the perfect companion to THE MAKING OF STAR WARS, a beautifully created and intriguing flipside to the earlier, equally superb, behind the scenes publication. In J. W. Rinzler’s book we got to read all about the exhaustive conflicts and the struggles by George Lucas to get the first STAR WARS made-the film that would go on to launch a series of movies the likes of which no one had ever seen before, or since for that matter. Now, with the work of Sansweet and Vilmur with THE STAR WARS VAULT we can relish in that success and celebrate STAR WARS’ totally varied and always fascinating history as a worldwide entertainment phenomenon, which has always so successfully brightened the lives of children and adults for thirty years and onwards.

THE STAR WARS VAULT is a true nostalgic celebration of some of the greatest moments linked to the factual and fictional universes of the STAR WARS SAGA.

To the child in all of us, it’s well worth your pocket money!

Sunday, 21 April 2013

CLASSIC REVIEW: 'THE SOUNDS OF STAR WARS' BOOK


THE SOUNDS OF STAR WARS

By J.W. Rinzler 


Foreword by Ben Burtt

Published by SIMON & SCHUSTER

Reviewed by Scott Weller

Years ago, Steven Spielberg stated in a BBC TV interview that when watching a first cut of a film without music it was “dead”. I think that he also meant the same things with regards to a film without any sound design. And when it comes to the sound design for STAR WARS, then the relationship that has to be established between the two states has never been more important, having to work symbiotically to convey the sense of a galaxy far, far away to audiences. From the first films original release in the breakthrough DOLBY STEREO in May 1977 to the release of the final film in 2007, and beyond, these films have been both pioneering and iconic in the way we have heard them. And its all thanks to their equally legendary Sound Designer, Ben Burtt, that we, now, as modern audiences, take the way we listen to a film or television shows soundtrack to a more serious level, appreciating how its complexity and atmosphere can add much to our enjoyment in enhancing the unfolding drama, in a state of accelerated development now going beyond its use in cinemas and entering the confines of our own home cinema sound systems. No longer restricted to the old Mono systems of our youths, modern entertainment requirements both respect and demand great sound!
And as for STAR WARS, can you imagine that incredible universe without the mighty overhead rumbles and laser blasts of the descending Imperial Star Destroyer as it fires down on its Rebel Blockade Runner prey? Or the twang, twang blasts from Imperial Stormtrooper guns, the emotionally attuned baby-like bleep bleep bleeps of Astro Droid Artoo Detoo, the growls and emotionally resonant mumbles from Chewbacca the Wookiee, or the distinctive quietly powerful hum and slashing movements of the lightsabers as they spring into action? And what about those exciting sounds of the X-wing fighters as they blast down to the Death Star surface.
Ben Burtt in his original sound design basement room at George Lucas's Park Way, for the original STAR WARS.

Ben Burtt’s incredible contributions to all six STAR WARS movies haven’t just been linked to sound, either. He’s also worked on the films in numerous positions for LUCASFILM over thirty odd years, from his main job he would in early days assist ILM’s various departments and finding computer graphics artists, then to effects photographer and second unit director, and evolve from being a writer to an editor, and pretty much one of the few people around throughout the sagas genesis and production inception from 1975, so his knowledge of their making, and all the amazing stories and anecdotes he’s been a part of, are not only invaluable but many of them have also never been told to the fans, especially in relation to the important development of his own unique audio creations.
Now, THE SOUNDS OF STAR WARS, written by J.W. Rinzler, finally tells that deserved to be told story, chronicling not only Burtt and STAR WARS, but the things before, between and beyond it that have influenced his love and work within the sound industry. It’s an ambitious, nicely written, informative, and almost definitive work on the subject. Rinzler’s continued eloquent prose nicely accompanies Burtt’s reminisces, the pair successfully telling the story of how the legendary sounds came together for a landmark book in which STAR WARS fans of all ages can now enjoy and fully immerse themselves into Burtt’s unique sound creations- via some unique accompanying technology- any time and anywhere they want to.
In Los Angeles, recording potential blaster twangs.

Starting off with a nice little family history of Burtt and how sound and sound design became an integral part of his life, we then see the genesis of his own desires in creating sound design geared towards a more organic and believable nature, mixing the familiar with the not so familiar. In those important formative years he talks about the sounds he liked to listen to in his favourite movies and pays special nostalgic tributes to those amazing sound designers of yesteryear and the classic films they worked on that would inspire him. The book follows his love of the medium to the point where he decides to pursue it at USC, and then the breakthrough: starting work for George Lucas on a little film then called THE STAR WARS, as Burtt tells of the build up of tension, anxiety and excitement in the wake of its making and release, linked with further great mentions of other classic sound men working in the industry as he was starting out (like acclaimed film-maker Walter Murch) or following in his footsteps, like the sterling sound entrepreneurs that are David Accord and Matthew Wood, who are now continuing his Burtt’s tradition and maintaining his unique universe of sound continuity with THE CLONE WARS TV series.
Wonderfully nostalgic in places, Burtt’s love of movies, science fiction, and action adventure in and out of STAR WARS is clear to see. The camaraderie and team spirit working in post production on STAR WARS continues, which was then very much “X-the unknown” with regards to whether the film and its numerous ingredients would be a success and strike a chord with audiences, and whose quick success no one truly predicted, though Burtt recalls being enthused with what continuing footage he was seeing and adding sounds to.
From that early first work on the sounds of the lovable Wookiee Chewbacca in 1975 onwards, the challenges and often great difficulties of creating a unique and distinctive sound mix on the original film is well documented here, like Burtt’s clashes with the film’s experienced sound mixer Stan Shaw and his equally veteran team to not use stock sound effects used in other films and TV programmes. To create something totally unique but accessible for the film without being too distracting rather than using existing old sounds that would take the viewer completely out of the fresh cinematic experience.

Two of the interior spreads for the new book.

Then, with the sequels, beginning with 1980’s THE EMPIRE STRIKES BACK, the inevitable and unenviable challenge of living up to the expectations of the first film and deliver the goods each time, not just with the Classic Trilogy but with the Prequels, which eventually arrived from 1999 onwards, comes to the forefront. And it’s not just the challenge of the advancing expectations of the films and how to top them, either. There’s also the ever evolving and improving technology itself (presented in fine detail for all budding sound designers and editors to find out about), which was being used to record the sounds, which often provided their own challenges and complexities.
As we follow the greatest assembly of STAR WARS sounds ever in one publication, we can hear how the use of old and new in an organically recognizable but still fantasy environment, has been achieved in a meticulous and thoughtful way by its originator, of which more than one element has often been uniquely combined, and often from the most unexpected and also unlikely of sources, which ultimately prove perfect when used in the films. It’s a pot pourri that readers of all ages will enjoy hearing, Many hundreds of classic sounds from the films and animated series are included, intriguingly not all of which made it into the finished movies or in their full durations (loved Bossk’s talking!), including some variations on classic sounds, and others that didn’t make the final film cuts, mostly collected from the original recorded sources but some from archived time coded DVD copies for the best quality possible.
Delving into the books unique but easy to use sound play system, it must have been so much fun for Burtt to work from scratch in building the important background environment noises to alien worlds, with evocative locations like the swamp world of Dagobah or the Forest Moon of Endor, as well as the voices of the many languages from creatures like Jabba the Hutt, Greedo and others.
Burtt adds the sounds to the classic lightsaber duel from THE EMPIRE STRIKES BACK.

And, as well as ancillary, but equally important, sounds linked to the backgrounds of scenes, there’s also the great sounds rarely heard in the films, like Vader’s damaged TIE fighter from STAR WARS, with its dorsal fins and engines spinning out of control, plus intriguing creations like EMPIRE’s Imperial Probots. There’s also some of my favourite sound effects, old and new, large and small, from the saga within the books pages, including the Emperors death scream, Nien Nunb talking, and the lightsaber deflection (all three from JEDI) and subtle but funny little things like Jabba the Hutt at the Pod Race flicking over a poor little Nuna bug (from THE PHANTOM MENACE)!
And let's not forget the Mynocks, Walkers, Emperor’s hologram, firing Snowspeeder tow cables and things like that-even Boba Fett’s cowboy inspired spurs!-which add to the fun completism. And, hoorah, Burtt gets some mentions in to the Lucas derided HOLIDAY SPECIAL, the STAR WARS SPECIAL EDITION releases from 1997, plus a detailed feature on the famous Wilhelm scream –its origins and its appearances in all six STAR WARS films!
Naturally, this book is about sound rather than hearing the actors voices saying classic dialogue (you can go on to STAR WARS.COM to hear all that), but its still nice to hear the occasional actors voice in the book complimenting the sound design, like Harrison Ford, Mark Hamill (screaming the now classic: “That’s not true. That’s impossible!”), Peter Cushing or Sir Alec Guinness, though there’s intriguingly very little of that with the Prequel Trilogy sections, which is a bit of a shame. The only actors voice track sound related that I would liked to have heard which isn’t in the book is Princess Leia’s full hologram speech/plea- it would have been fun to have had one of Carrie Fisher’s original and numerous dialogue takes included. 
On set at Elstree, Burtt gives the Ewok actors a listen of what the creatures voices will sound like.

One of the best sections of the book is related to the sound design during the making of RETURN OF THE JEDI. As we have not yet had the hopefully to be third book on the making of the film from Rinzler (keep on buying those copies of the MAKING OF EMPIRE, guys and gals!), there’s some excellent behind the scene information in there, linked to the studio filming and sound design, that I wasn’t previously aware of (and that Luke in the cave deleted sequence, seen at CELEBRATION V for the Blu-ray release, is also talked about. Prepare for further fan controversy!). There’s also other fascinating and intriguing bits of behind the scenes history scattered throughout that I wasn’t previously aware of, either (like how EPISODE III’s classic ORDER 66 sequence was originally planned as part of the finale of EPISODE II, with the Geonosian Arena and Jango Fett helping to initiate it), which is great to discover.
As Classic makes way to Prequel, the sounds are a bit sparser in their selection, and there’s hardly any character dialogue for them at all which is a bit of a shame, but there’s still some memorable elements in there to be enjoyed, like the classic sound section devoted to the ingenious seismic charges during the Obi-Wan/Jango Fett asteroid chase.
There’s also Burtt’s pioneering work beyond STAR WARS, too, like the Indiana Jones films, and, as a fan of STAR TREK since the early days, his sterling work combining much loved hybrid old and new sound designs for its latest re-imagining from director JJ Abrams. And, as he previously did with Artoo Detoo, how could we forget his work in providing the adorable noises and sounds to everyone’s favourite lone cleaning robot, WALL-E.
Backed up with some great rare colour and black and white imagery from all the films, some of it presumably unused material that couldn’t be crammed in to Rinzler’s first two making of books on the Classic Trilogy, its amazing to me that a project of this kind has never been done before. There have previously been a few dalliances in sounds, especially with toys, over the years, but not a proper book on the subject. Perhaps the costs and quality control are now just about right to do a project of this type in the publishing world.
With the STAR WARS sound design torch now passed onto his successors, Burtt has been deservedly a much in demand freelance within the movie industry. Fortunately, though, his new career hasn’t stopped him from taking on future LUCASFILM assignments beyond the adventures of Luke Skywalker and co. New sound horizons loom as Burtt re-teams with Lucas for the upcoming World War II movie RED TAILS, the famous true story of the Tuskagee airmen, of which we’re sure that sounds old and new will be used with the same kind of enthusiasm and dedication from Burtt that we have always expected and greatly appreciated. In the meantime, however, as we await his new accomplishments, THE SOUNDS OF STAR WARS is a fine tribute to his work, and, in a year of amazing new STAR WARS book release, this is yet another must have book for your shelves.

AFICIONADO RATING: With nearly thirty years worth of stories in the film industry and for Lucasfilm and STAR WARS, this book is a veritable gold mine of information for not only STAR WARS fans but people who are interested in the phenomenon and experience of sound and sound design full stop. It’s also just a lot of fun to hear the superb sound effects. 9 out of 10

How Ben Burtt Designed The Sounds Of Star Wars | Co.Design | business + design

Tuesday, 23 November 2010

CLASSIC IMAGE: THE SOUND COLLECTOR!


Out in the wilderness of sound gathering, the legendary Ben Burtt creates and re-records the iconic noise of the Rebel and Imperial blaster weapons, during some point between 1977 and 1979.

Check out our review of his and J.W. Rinzler's enjoyable new book, published by SIMON & SCHUSTER, on the unique subject of sound design for the saga here:

STAR WARS AFICIONADO WEBSITE: THE SOUNDS OF STAR WARS