EPISODE I: JOHN AND JAR JAR!

Amidst the 100 degrees-plus heat of their Tunisian location filming, John Knoll uses the reference head of unique comedy Gungan Jar Jar Binks for the camera/lighting rehearsal of an upcoming Episode I scene linked to the Homestead, and our heroes readying of Anakin's repaired podracer.

BEHIND THE SCENES: SHOOTING JAWAS!

At the Salt Flats location in Tunisia, the original Star Wars lensman John Jay captures the main group of Jawas by their Sandcrawler in between takes for this great image, which was apparently one of Jay's favourites taken for the movie way back in Spring, 1976.

John Jay at the location.

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.

CLASSIC IMAGE: CAPTURED BY THE JAWAS!

First it was Threepio, now it's Artoo who is soon captured and in the grubby hands of those pesky little collecting critters that are the Jawas, attaching a restraining bolt to it and then sucking it up into the main hold of its massive Sandcrawler vessel. A classic moment from the original Star Wars.

Filming at a small canyon location in Tunisia called Sidi Bouhlel, located in Tozeur, on Tuesday March 30th, 1976, the key sunset scenes involving the Jawas having neutralized Artoo, and their carrying him to their Sandcrawler, would be shot (when the rushes are viewed in London later on in filming, however, the wide establishing footage of the Sandcrawler is discovered to be scratched and the film stock poor - it is decided that this will have to be mostly re-shot States-side in 1977, once extra funds are secured from Fox). 

For the overall Jawa location filming sequences/going into the Sandcrawler scaffold prop for the night shoot, the small in height cast included Kenny Baker's longtime friend/showbusiness partner Jack Purvis (listed on one call sheet as 'Head Jawa'), a French/Tunisian midget (named Mahmoud or Mahjoub?) who had been helping the film crew in the location filming, between three and seven local Tunisian children (according to call sheets), the young son of Giles Instone, manager of the British lorry drivers transporting sets and equipment to Tunisia, and Gary Kurtz’s two daughters Melissa and Tiffany. 

For the scene where Artoo is sucked up the tube into the Sandcrawler, the effect was simply achieved by dropping the empty prop down from the tube and then reversing it in post production.

The Jawas and their new capture prize.

The Jawas at work!

The originally shot footage of Artoo getting his restraining bolt.

The re-filmed restraining bolt sequence at ILM later in post production. ILM staffer/production assistant Penny McCarthy is on her knees in the Jawa robes.

BEHIND THE SCENES: DUNE SEA DROID!

Wednesday 24th March, 1976. Part of a busy day of location principal photography linked to the Dune Sea sequences, filming begins in La Grande Dunes west of the film’s production base, at Nefta, in the eerie yet stunning desert area for the scene where Threepio shuffles by an extinct alien creature's remains - a fiberglass skeleton copy of a Sauropod creature that had originally been constructed for use in the ELSTREE STUDIOS filmed 1975 UK Walt Disney film One of Our Dinosaurs Is Missing. A large prop, found deep in the Elstree warehouse by set decorator Roger Christian and colleagues, the remains would, ultimately, be abandoned to the desert due to transport practicality problems once filming in Tunisia is completed. Also shot that day is the harried droid's sighting of a far distant Jawa Sandcrawler (achieved via a small matte painting of the horizon obscure vehicle handled by ILM in late 1976).

Unfortunately, as location photography progresses, so too do the worsening weather conditions, as fierce sandstorms soon arrive to hit the area, and specially made goggles are supplied to shield everyone from the terrifying, strapping high velocity winds. Natural elements such as sand would also play a part in the chaos, clogging the film cameras and ruining other important equipment. A planned location site to have incorporated a matte painting, handled by the second unit, would ultimately be abandoned by 5.57 PM due to bad light.

This image is presented here in the original way it was shot, as Threepio waves and cries out to the possible transport atop a distant sand dune.

Norman Reynolds and colleague make adjustments to Threepio's suit as the weather worsens on location.

The original Dinosaur bones on the Elstree parking area, before transport to Tunisia.

The small matte of the Jawa Sandcrawler, we assume by Ralph McQuarrie.

BEHIND THE SCENES: THE MARCIA LUCAS FACTOR!

 

George Lucas, needing morale support, with then wife Marcia, perched against a Djerba beast background player. An image taken during the final days of Tunisian location filming for Star Wars in early April, 1976.

Behind every great man, there has to be a great woman, as the song goes, and back in 1976 as writer/creator George Lucas developed, and filmed the original, difficult to make Star Wars he had the thankful support and backing of his wife Marcia Lucas during many affecting times, herself a much in-demand and trusted filmmaking talent within the world of editing, and known for her strong creative instincts and individual flair. She was and is a gregarious person who recognised peoples' talents and knew how to bring them out to the benefit of everyone, especially in Hollywood circles, where she was much admired by the likes of director friends including Martin Scorsese and Brian De Palma, who'd use her editing talents/opinions for their own groundbreaking projects. Both George and Marcia would prove to be a popular couple during the period they were together, whose chalk and cheese natures seemed to blend perfectly in the early to mid seventies era of innovative and unforgettable movie production. Marcia would also be a key voice in editing and helping George lock in the 'spirit' of his hit comedy, American Graffiti.

Marcia Lucas's Star Wars-related postcard from Tunisia to Lucy Autrey and the Parkway team in 1976.

Though not originally to have been part of the film's editing (instead to have acted as a consultant), during Star Wars 1975-1976 pre-production she favoured the casting of Hamill, Ford, and Fisher, was key to the development of the Force in the movie's original script, which she found fascinating (even writing some of the extra dialogue needed during Kenobi and Vader's duel), helped her husband realise that Kenobi's death was indeed vital to keep the film's drama in the final script (and not leave a great actor like Sir Alec Guinness with nothing important to do), whilst in her own editing high ground, she brought in the idea of 'wipes' transitions for scenes (used effectively for TV commercials at that time). 

Designing both the Lucasfilm Ltd  and ILM logos. Marcia travelled to Tunisia and was regularly at London's Elstree Studios. It was alongside her husband looking at the film's dailies that they knew that the assigned UK editor John Jympson wasn't picking the right take prints to be used in the editing process before his role in the film was terminated in July 1976. Ever gregarious, she regularly had dinner with the film's main cast, especially Sir Alec Guinness, whom she often found scandalous and funny away from the set (George sadly never attended the dinners). She was greatly impressed with Carrie Fisher (loving her spontaneous, clever wit) and Harrison Ford, who looked every inch the 'soldier of fortune' to her. It was Marcia, alongside US casting advisor Fred Roos, who championed Luke Skywalker to be played by Mark Hamill.

When a desperate-for-help Lucas needed Marcia's editing skills and keen eye for character after the replacement of Jymoson (whom Marcia felt used too broader takes of actors performances that did not bring a sense of reality to the piece and felt too humorous), she was key to making the final Death Star space battle as tight and exciting as possible in what became a monumental task (generating the idea and tension of the Death Star preparing to fire at the Rebel Base, alongside fellow editor Paul Hirsch's contribution - an edge-of-your-seat countdown to the finale), of which ILM needed the assembled footage as quickly as possible for ongoing model filming. She also fought Brian De Palma's wanting George to remove the concept of the Force from the film, which she was adamant should stay (De Palma may even have had his friend Paul Hirsch remove some of its references in Post Production, most of which were then re-instated by a determined Marcia). Beyond getting the hilarious moniker of 'The Queen of Death' in killing off characters across the Star Wars saga during editing, Marcia also recognised the value of small unique moments of humour, like the Mouse Robot sequence showcasing Chewbacca, which was almost entirely excised from the film before she put her foot down.

Visiting the Death Star hangar bay set at Elstree circa May/June 1976, Mark Hamill demonstrates his then ongoing toe infection to Marcia and colleague. Image: Robert Watts.

Cast and crew gather at the Elstree Studios bar/restaurant. Image: Robert Watts.

Fondly known by the 1977 Lucasfilm team as 'the heart' of its expanding family, and recognised as 'the smartest pair of hands in the galaxy', Marcia was sadly not able to work on the editing for The Empire Strikes Back (part of a sequel series that she had no idea George Lucas had any plans for beyond what was thought to be the one-off 1977 film) due to other commitments (though she clearly saw and/or gave opinions during the film's post production process, and visited the London Elstree Studios filming at least once in mid 1979, alongside her then husband) and to also start looking after her and George's adopted baby, though she was able to come back to help her again desperate husband for a short period on Return of the Jedi's end of Post Production period, despite having now retired from the editing field, when it's original cut (crafted by director Richard Marquand and his own specially chosen editor Sean Barton) needed a major creative boost in key dramatic areas, especially linked to Mark Hamill's scenes as Luke Skywalker, and his eventual destiny as a Jedi, plus the vital moment when Vader transitions back to Anakin Skywalker and defeats the Emperor. Marcia would further be a part in reshaping the film's already edited Sail Barge battle, so as to bring viewing clarity.

Earlier this year, Marcia Lucas was a key contributor to a documentary series linked to the making of the Original Trilogy, which aired on Vice TV (July 12th): 

Vice TV-Nacelle ‘Star Wars’ Series Lands 1st TV Interview With Lucas’ Ex-Wife – Deadline

Filming at the top of the Sidi Driss hotel in Tunisia with Mark Hamill looking down into the sinkhole, and watched by the crew (including Marcia Lucas, centre, with Gary Kurtz). Image: the Ben Ageros Collection.

Visiting the location specifically to bolster her husband's low spirits with the problematic start of filming Star Wars, Marcia watches George direct a Landspeeder motion sequence.

 Marcia, at bottom left of image with Gil Taylor, and Meredith Kurtz, as the crew (including George Lucas, Anthony Waye and Ann Skinner), from a small scaffold, film the Landspeeder entrance into Mos Eisley at Djerba, Tunisia, at the end of March, 1976.

Conferring with, and enjoying the company of, Garrick Hagon and Mark Hamill, watched by George, on the last day of location principal photography at the Djerba fishing village, Tunisia- April, 1976.

Both Marcia and George had a natural passion for the craft of film making and editing and were much respected for their successes in the 1970's.

A proud Oscar winning Marcia with her husband at the 1978 Academy Awards, enjoying the success of the original Star Wars.

With fellow Star Wars editors Richard Chew and Paul Hirsch, with the iconic Farrah-Fawcett at the 1978 Oscars.

Going through some footage of The Empire Strikes Back in late 1979, alongside respected director Irvin Kershner.

Marcia hated the original script created for Revenge of the Jedi, which featured two Death Stars (as seen in this Ralph McQuarrie painting. Soon enough, George dropped the idea and brought Lawrence Kasdan back to the fold to help him draft a better story.

As seen in a recent Star Wars related six-part 2023 documentary on the US Vice TV channel: Icons Unearthed.

https://www.indiewire.com/2021/09/star-wars-editor-slams-disney-films-jj-abrams-1234666134/?fbclid=IwAR14fJW4wZuyQHxak_GpAa7a81Ce3NuXArGI2vG0-a6p-wTzjs4XQB3bDS8

BEHIND THE SCENES: PREPPING THE PODS!

The 1997 Tunisian location may have been hit by violent storms and winds the night before filming, but the nature-damaged pod racing vehicles specially built in the UK for EPISODE I's epic Boonta Eve Pod Race sequence would be repaired quickly, with their diversity and distinctive visual appearances showcased anew before the cameras... 

CLASSIC IMAGE: ANAKIN'S JOURNEY BEGINS!

Looking beyond the emotional goodbye of his mother at Mos Espa, young Anakin Skywalker begins his journey to destiny as a Jedi, rushing across the desert alongside Qui-Gon Jinn to their awaiting, nearby Naboo Royal starship. But danger will soon strike...

A classic image of Jake Lloyd as young Anakin Skywalker that was a popular publicity image for EPISODE I. 

HAPPY BIRTHDAY, GEORGE LUCAS!

On location in Tunisia for Episode I - 1997.

Seventy-nine years young today and still blessed with more talent, imagination and pioneering insight than many of today's modern directors could ever hope to gain, George Lucas remains the original, the ultimate 'Father of Star Wars'.

'ATTACK' AT 20: AT THE LARS HOMESTEAD!

With escalated nightmare visions of his mother that can no longer be ignored, a deeply concerned Anakin, with emotional support from Padme, travels back to his former homeworld of Tatooine, arriving at the Lars Homestead just outside Mos Eisley, where former slave Shmi has now been living a life of freedom, and is happily married to the respected farmer Cliegg Lars.

With thanks to Chris Baker for selected images.

Arriving at the homestead.

Anakin and Padme are reunited with Threepio, who has finally been given his metal skin coverings.

“It was a very nostalgic experience (returning to the Tunisian Lars homestead). It was odd to be back in one of the places we shot the original movie, especially since it hadn’t changed much. It was strange to be standing in the same spot twenty-five years later.”

 GEORGE LUCAS- STAR WARS: MYTHMAKING BOOK-2002 

The newly created homestead igloo, as seen on location at the same salt flat location first used in Spring 1976.

Filming his original scenes operating the Threepio puppet from EPISODE I on location. In post production editing, Lucas decides that the puppet will be replaced with the Threepio suited version earlier in the film than originally planned.

Anthony Daniels is nostalgic for the location as he suits up to film a later scene in the shell costume.

Hayden Christensen ponders the incredible landscape prior to filming.

'STAR WARS' AT 45: A TATOOINE DAY IN THE LIFE...

At work within the distant vaporator fields, Luke Skywalker is soon distracted by a sight in the skies above.

With a very young Luke Skywalker at the Lars Homestead now revealed in the first teaser trailer for the upcoming Obi-Wan Kenobi mini-series, here's a look back to the icon hero's originally planned introduction in the original Star Wars of 1977- the memorable sequence, now a legendary deleted scene, that would see a bored Luke working to repair a moisture vaporator, with help from a soon malfunctioning Treadwell droid buddy, out in the Tatooine wilderness. Shot at the Tunisian salt flats of Nefta between 23rd and 25th March, 1976, Luke's task is interrupted via a mysterious sight in the clouds...

Luke, wearing a floppy goggle hat that would not be seen in the completed film, adjusts a control box linked to the malfunctioning vaporator.

Great deleted establishing image.

Temporary lens flare for visual reference -it was planned that ILM would provide an optical insert replacement had the scene not been deleted relatively early in the film's US post production phase.

Looking up, distracted.

Another scene from the deleted footage.

Posed publicity image from the scene.

Close-in posed image of Luke using his macrobinoculars.

Luke leaves the now malfunctioning Treadwell to its own devices.

Publicity image taken linked to the scene.

A great behind the scenes shot captured between takes. Note the technician attending to the Treadwell droid. Image: Kurtz/Joiner Archive.

Treadwell droid photo image taken on Death Star set at Elstree during Summer 1976- presumably for later potential magazine publicity linked to John Stears' work on the film.

The blue Treadwell would also return for active duty in The Empire Strikes Back, presumably the original version built by John Stears and his UK practical effects team (held in storage after prior 1976 filming?), for a fun little moment atop the Millennium Falcon, where it would confer with an irritated Han Solo within the Hoth Rebel base.

The deleted scene as rendered by Roy Thomas and Howard Chaykin for the original Star Wars Marvel Comics adaptation, published from the end of 1976 onwards.

And here's several posed images linked to Luke at the vaporators.

Luke poses for some repair work.

A shot not originally released in the seventies, showing Luke without his leg 'wrappings'.

This posed image of Luke wearing his poncho was likely taken during a filming break at one of the Lars Homestead vaporators, later in the Tunisian filming.