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SPECIAL EDITION 2018 EDITORIAL Editor / Jonathan Wilkins Senior Executive Editor / Divinia Fleary Art Editor / Oz Browne Copy Editor / Simon Hugo Editorial Assistants / Tolly Maggs, Jake Devine LUCASFILM Senior Editor / Brett Rector Image Archives / Newell Todd, Erik Sanchez, Bryce Pinkos, Nicole LaCoursiere, Tim Mapp Art Director / Troy Alders Story Group / Pablo Hidalgo, Leland Chee, Matt Martin CONTRIBUTORS Simon Hugo, Tricia Barr, Michael Kogge, Amy Ratcliffe, Pablo Hidalgo, Claudia Gray, Chuck Wendig, Thomas G. Smith, Martin Eden, Mark Newbold, Michael Price, J.W. Rinzler, Neil Edwards, Gus Lopez SPECIAL THANKS TO Erich Schoeneweiss at Random House, Joseph Taraborrelli at Marvel Comics, Tracy Cannobbio and Chris Argyropoulos at Lucasfilm

You are holding in your hands a collection of some of the very best interviews and features from the pages of Star Wars Insider. It’s our mission statement for this magazine to deliver the complete Star Wars experience. By that I mean that we cover all things Star Wars from movies to books via TV series, video games, and comics. This special edition features a typically wide range of Star Wars material, including a complete episode guide forThe Clone Wars that will have you delving back into the classic show—or experiencing it for the first time!—and features on the movies, from A New Hope to Rogue One: A Star Wars Story. Acclaimed authors Chuck Wendig and Claudia Gray discuss the fine art of writing best-selling Star Wars novels, and fans of the original trilogy will enjoy a trip back in time to see a gallery of rare images from Return of the Jedi. It’s hard to imagine, but there was a time when that was the last Star Wars movie! How things have changed! May the Force be with you,

TITAN MAGAZINES Senior Production Controller / Jackie Flook Production Supervisor / Maria Pearson Production Controller / Peter James Production Assistant / Natalie Bolger Art Director / Oz Browne Senior Sales Manager / Steve Tothill Direct Sales & Marketing Manager Ricky Claydon Subscriptions Executive / Tony Ho Brand Manager, Marketing / Lucy Ripper Commercial Manager / Michelle Fairlamb Circulation Assistant / Frankie Hallam Advertising Assistant / Tom Miller U.S. Advertising Manager / Jeni Smith Publishing Manager / Darryl Tothill Publishing Director / Chris Teather Operations Director / Leigh Baulch Executive Director / Vivian Cheung Publisher / Nick Landau DISTRIBUTION U.S. Newsstand / Total Publisher Services, Inc. John Dziewiatkowski, 630-851-7683 U.S. Distribution / Ingram Periodicals, Curtis Circulation Company U.K. Newsstand / Comag, 01895 444 055 U.S./U.K. Direct Sales Market / Diamond Comic Distributors SUBSCRIPTIONS U.S. subscriptions / 1-800-261-6502, email: customerservice@ U.K. subscriptions / 0844 576 7858 email: For more info on advertising contact STAR WARS INSIDER SPECIAL EDITION 2018 (USPS 003-027) (ISSN 1041-5122) Star Wars Insider is published eight times per year (January/ February, March/April, May, June/July, August, September, October/November, December) by Titan Magazines, a division of Titan Publishing Group Limited, 144 Southwark Street, London SE1 0UP. Contents © 2018 Lucasfilm Ltd. & TM. All Rights Reserved, Titan Authorized User. TMN 13629

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The actor who plays Kylo Ren discusses life on the dark side.

A humorous look at the Star Wars spin-off movies that never were!



A profile of the Empire’s dreaded Death Star.

The voice of Zeb, Steve Blum, discusses his work!

018 R2’S DEBUT


The making of R2-D2, a true icon of the saga!

A rare interview with the visionary storyboard artist.



The making of the first episode of Star Wars Rebels!

Test your knowledge with our quiz of the year!



A rare interview with the visual effects master, Jon Berg!

Kathleen Kennedy and Bryan Burk on creating The Force Awakens!



Writers Claudia Gray and Chuck Wendig talk Star Wars!

An interview with the artist behind some of Star Wars matte paintings!



Jeffrey Brown talks about his humorous Star Wars books.

An amazing selection of rare photos chronicling the making of the film.



A special peek behind-the-scenes on the Star Wars set!

Award-winning writer Michael Price on the LEGO Star Wars specials.



The actress who starred as Jyn Erso on leading Rogue One into action!

Amazing collectibles featuring Padmé Amidala.



A complete guide to every episode of Star Wars: The Clone Wars!

An interview with Vanessa Marshall about her work on Rebels.



Discover five amazing facts that you probably didn’t know!

A classic moment revisited as the heroes swing for their lives!

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tar Wars Insider: How did you get involved with The Force Awakens? Adam Driver: I think it was the last day of shooting Girls and I got a phone call to see if I was interested in meeting J.J. Abrams to talk about Star Wars. I thought that it would be interesting to do, so I said “yes.” A month later, I left for LA and I met J.J. to talk about the role. Then I met with Kathleen Kennedy, who talked more about it. I was very excited. It’s such a big thing and I’ve never done anything quite like this, with this many

something that he talked about the most. I feel like some of the movies are so heavy on special effects or visuals and lot of things get lost as far as two people talking to one another. And that was something that J.J. stressed from the beginning; it was all character— there was hardly any talk of special effects. When we originally met and talked, it was all about grounding these people in a reality, even though it’s a long time ago in a galaxy far, far away. If no one cares about what’s happening or no one believes that these people are real, then you won’t care about any of it.

Clockwise, from above: Kylo Ren stalks our heroes; the imposing and mysterious Kylo Ren; taking command of the First Order troops on Jakku.

“THERE’S SOMETHING EMPOWERING FOR SOMEONE TO COMPLETELY HIDE THEMSELVES IN A MASK THAT IS SO INTIMIDATING.” moving pieces. Wearing a mask is quite a challenging thing. It was very scary and terrifying, so it wasn’t something that immediately seemed like a “yes.” Actually, I thought about it quite a bit, even though it was kind of a no-brainer, but I didn’t want to take it lightly. How much was J.J. Abrams able to share with you after you signed on? J.J. Abrams pretty much walked me through the whole thing. He talked about how he wanted to start it and the themes that he was going with. He talked about things that inspired him that he and Lawrence Kasdan were already working on. There have been small changes since then, but it’s all pretty much the same. J.J. had ideas that were very clear in his mind about the conventions that he wanted to upturn and things that grounded Kylo Ren as a character. Character was

What sense did you have of taking on such a role? The idea of doing it is a scary thing. Even though J.J. mapped out what that character does, he left out a lot of things for us to discover. He wanted to get my input, which was a huge thing also in a movie of this scale. Suddenly you have a director who wants you to be involved in making it, and given the history of these movies, that’s very exciting. I was a fan of the Star Wars movies when I was younger, so suddenly to work on it in my adult life and have input seems unbelievable. Did you enjoy working on practical sets? Everything is so real. I think grounding everything in a reality is more effective. Not to get on a high horse about technology, but sometimes it’s in place of something that’s real and tactile and I think that people take it for granted.


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I’ve actually read the Making of Star Wars, and learned how all those people were doing things out of this need to do something different. The conventional way of making a movie at that time and special effects were very important, but it was all about people collaborating in a room together trying to figure out a way to make it real. As an actor, is it freeing or limiting to wear the mask? It’s both. I get here for three or four days to shoot, and I put all this stuff on, the mask and the costume, then I put it away for a few weeks. Then I come back to it. It was such an evolving thing up until the days we started working on it. Then you’re thrown into it, and boom! Then suddenly I can’t see the ground. They are all good challenges. As we’ve been shooting, I find it more freeing. The physical life is really important. There are so many layers to him anyway. It’s interesting to find out who he is with the mask on or with the mask off, and that was part of our initial conversations. There’s something empowering for someone to completely hide themselves in a mask that is so intimidating. Did you talk to J.J. Abrams and costume designer Michael Kaplan about the look of Kylo Ren at all? It was such an evolving thing. I’d fly in to see what they were coming up with and see nods to Akira Kurosawa, and his jacket that bows out just a little bit, like a samurai, and all those references. Then I’d leave for two weeks and come back to see how it was shaped a little more. My only input was whether it felt good or bad. I was involved in making it functional, which was great. They were all about how they could make it more efficient and something that someone could wear. It looks great, but if you can’t move in it or breathe in it, then it doesn’t make sense for the audience or the actor.

Clockwise, from above: Early concept art showing Kylo Ren’s helmet in detail; more concept art showing Kylo Ren in a rare, reflective mood; poised for action; Adam Driver on set, shooting the razing of Jakku.

How did you go about conveying the character’s physicality? Trying to convey someone whose physical life is very much about combat and fighting in a short amount of time is a challenging thing. One of the first things I wanted to do, as soon as everything was all scheduled, was to start drilling daily and making it part of my daily life. I had three months to prepare, so I wanted to immerse myself in the training as

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“I’D FLY IN TO SEE WHAT THEY WERE COMING UP WITH AND SEE NODS TO AKIRA KUROSAWA, AND HIS JACKET THAT BOWS OUT A BIT, LIKE A SAMURAI.” much as possible. The first week was like four hours a day of fight training; just stretching and going over the training with sticks and slowly building up to the lightsaber. Then I went to New York and worked with people they sent there. Whenever we’re not on set, I’m always with the fight guys. It’s almost like a play in a way, the dancing part of fighting. There’s a structure and it’s important to know where everything’s going. You always learn new things about it, and for me this has been a process where a lot of the external things have been formed that gave me more information. Usually I feel like I try to work internally and try to think about how it feels from the inside out, but for this there are so many tactile things that I can actually hold on to that give me a lot of information. The fight choreography was one of them. Was the table read a surreal experience? Seeing everybody all in one room for the table read was surreal; I just wanted to sit back as an audience member and listen to them. I remember in the

read-through that things would just come to life when the original characters read their parts. Suddenly I just wanted to sit back and watch and enjoy the movie, but then I realized I had lines to say and a part to play. I got to act across from people who have no idea that they are very much a part of my youth. What makes Star Wars great? At the end of it, I think the great thing about Star Wars is that, yes, it’s a long time ago in a galaxy far, far away and there are spaceships and lightsabers, but the family story and the friendship and sacrifice elements are really big, human themes that make it enduring. All those human things are what connected people to those movies in the first place. It’s never been taken lightly, and there’s always been a conversation that starts with putting the humanity in it.


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BALL The Death SStar is one of the most iconic elements in Star Wars. T Take a look inside the technological h g terror that lies at tthe heart of the Empire’s p war machine.


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eorge Lucas has always acknowledged the sources from which he drew inspiration for Star Wars. The opening text crawl is drawn from Flash Gordon serials, the bickering droids echo the main characters in Akira Kurosawa’s The Hidden Fortress, and the climactic attack on the Death Star owes a great deal to World War II movies The Dam Busters (1955) and 633 Squadron (1964). Yet the moonsized Death Star itself has few obvious parallels in other works of fiction. Sure, plenty of villains have an impressive base, and superweapons that must be stopped provide the against-theclock impetus for many a movie. But the audacity of the Death Star—its pure, simple shape and its mind-boggling scale—make it one of the most original elements

1 / Stormtroopers guard the Millennium Falcon. 2 / An Imperial Death Squad Commander at his station. (See opposite page.) 3 / The Death Star’s superlaser fires. (See opposite page.)

of Star Wars, and a cultural icon that ranks alongside Darth Vader’s helmet and lightsaber duels in terms of instant recognition value. So how did the Death Star come about? Lucas based several of his ideas for Star Wars’ outerspace aesthetic on the paintings of celebrated sci-fi artist John Berkey, who died in 2008. Lucas bought several of Berkey’s illustrations in 1975, and commissioned further originals. Though Berkey didn’t depict a Death Star-style globe in full, one of his paintings does show a rocket ship diving toward a high-tech planetary surface, which could be an entirely constructed world or a heavily augmented one.

DEATH STARCHITECTS The job of fully visualizing the Death Star then fell to concept artist Ralph McQuarrie and

Industrial Light & Magic (ILM) modelmaker Colin Cantwell. At this point, the Death Star was not really defined beyond being a “space fortress”, but following conversations with Lucas, Cantwell set about building a spherical styrene prototype. Painted in shining silver and dotted with circuit board-style detailing, the finished prototype is far less “clean” looking than the final prop, owing to the larger scale of the details (which were cobbled together from massproduced model kits). Cantwell’s model did, nonetheless, capture the essentials of the now-familiar Death Star shape, including for the first time an “equatorial trench” around the center. In interviews, Cantwell has explained how this trench was born of necessity: when he was molding the upper and lower halves of the sphere, both sections


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suffered minor shrinkage at the edges. Making the two pieces into a perfect fit would have been a very intricate and time-consuming job, so instead he proposed a definite break in the center, and Lucas swiftly agreed. However, Cantwell’s further suggestion that this happy accident led directly to the film’s trench run finale is most likely wishful thinking. Looking at the computer graphic of the Death Star that General Dodonna presents to the rebel pilots before their attack at the movie’s climax, it’s clear that the battle station’s famous weakness is meant to be accessed from one of its poles, not from the equator. Also the scale of the narrow trench in which the rebels attack is far too small to be visible from any great distance, so it must be one of the many smaller channels that crisscross

4 / The rebels discover the trash compactor. (See opposite page.)

the Death Star’s surface, not the equatorial trench.

5 / An X-wing soars over the vast surface of the Death Star.


6 / Luke Skywalker and Princess Leia swing across a seemingly bottomless chasm inside the battlestation. (See opposite page.)

Of course, that doesn’t mean we can take General Dodonna’s briefing graphics as gospel, either. Look closely, and you’ll see that, in this scene, the Death Star is shown with its other iconic feature—its superlaser dish—located at the equator, rather than in its northern hemisphere. That’s not a mistake on the part of Larry Cuba, who created the then-cutting-edge computer animation for the briefing scene. Rather, it reflects the fact that, until relatively late in the day, that’s exactly where the Death Star laser was going to be! McQuarrie got as far as working up a matte painting (a backdrop intended for use in the actual movie) showing the Death

Star with an equatorial superlaser before the decision was made to move it, and a photo of that painting formed the basis of Cuba’s animation. Once the Death Star design was finalized, it fell to ILM to create the sequences in which it appeared. This was achieved using a combination of matte effects and model photography—with one full Death Star prop measuring about 4 ft across, and much larger, more detailed models for the trench run scenes. In the fall of 1976, ILM filmed its first Death Star footage, and on October 16, a shot of the battle station firing its laser cannons became the first finished effect for the movie. Shooting the trench run and the surrounding battle took place between February and April 1977, and concluded just weeks before Star Wars opened in theaters. a


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R2 R2


ROGER CHRISTIAN WAS ONE OF THE T E VERY FIRST PEOPLE HIRED BYY GEORGE E G LUCAS TO WORK ON STAR WARS ARSS, AND WENT ON TO WIN AN ACADEMY ADEMY E Y AWARD FOR HIS SET DECORATION ATION O ON A NEW HOPE. HERE, HE TELLS ELLSS INSIDER ABOUT HIS INVOLVEMENT MENNNT IN CREATING OF ONE OF THE SAGA’S BEST-LOVED CHARACTERS. TERRRS. RS Right: R2-D2, the versatile utility droid, equipped with a variety of tool-tipped appendages. Opposite page: A rough sketch of R2-D2 by George Lucas and Bill Harman; George Lucas standing next to the first prop ever made for Star Wars, a wooden R2-D2.


he first R2-D2 took k shape p in a tiny studio o in K Kensall Rise in London, n, when George Lucas came e to th the he h U.K. in 1975. Five of uss set up shop h in a tiny studio, and [art rt director] dirrrectorr] Les Dilley and I were given iven the task a of making a mock-up. From the script, it was as clear l that George didn’t have eam movie without R2-D2 and C-3PO. 3PO. They T were the storytellers. W We k knew that C-3PO would work k because of the robot in n Metropolis (1927), but R2-D2… He had to be under four-feet tall and d we couldn’t make him do everything he needed ed to do using radio-control, rol, so we had to make him work around a small person. George hired Kenny Baker, e who is 3’ 8”, and we recruited ecruiited ecru Bill Harman, the carpenter penter e who made everything for f Monty M y Python and the Holy Graill (1975) 5 on


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a re rreally ea ally l y lo low ow bu o b budget. udget u g . We d didn’tt have e any mone money ey at tthat sstage e stage,, so B Bill brought brou ught ssome mari u marine ine pl plywood lyywood from m hom home me an m and d we built our first wood woo d mock-up mock-up ck up p arou around und K u Kenny Kenny, y, based base ed on a ver e very rry rou rough ugh sk u sketch ketch k h Bill and Geor George ge ma g made. ade ade. a Forr the h headp headpiece, piece, I found p n a piece pie ece off old sstudio e o light lighting ttin called calllled a ‘rifle lamp lamp’ p’ on a p an

electricals a scrapheap. c e Itt looked k like k it might be the right size, and when Bill cut out the insides it fit perfectly. He wasn’t able to make the little arms on the droid’s front, so I carved them at home with a penknife one evening, and they are still part of R2’s personality. Once we had Ralph McQuarrie’s concept art, I went to a local hire

ccompany that specialized in old m military equipment, looking for items to match Ralph’s painting. I bought sseveral passenger air vents and rreading lamps from an old Vickers V Viscount turboprop airliner, and vvarious grid pieces and pistons. I stuck them onto the mock-up in a accordance with the painting, and tth they are all still on R2 today. While I was doing this, Bill was cutting away at the insides and adding foam padding until Kenny was able to fit inside. He got it so that the frame wasn’t digging into him, but it was just too heavy for Kenny to move. When he slotted his boots into the legs, all he could do was make the whole thing shake a little. I had also bought a fighter pilot’s harness with the airplane scrap, thinking it might be useful, so we fitted that into the body, too. That meant that Kenny could wear R2 like a rucksack and take the weight off his legs. “George came down to watch the first real walking test, and Kenny made the little droid shuffle forward a few steps before falling over on his back. Seeing those few steps, we knew that we had conquered how to make R2-D2 function. As Kenny shook the droid and made its head turn, there was relief all round. From there, we all knew that R2 could be developed as one of the main characters with a truly unique personality. a

MORE TO SAY Cinema Alchemist is available as an ebook and a hardback edition from Titan Books.


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Darth Vader sets events in motion in the revised opening to Star Wars Rebels “Spark of Rebellion.“


mperial Star Destroyers loom in space. A hologram of Darth Vader (James Earl Jones) appears before the Inquisitor (Jason Isaacs) and speaks to him about his task to hunt down Force-sensitive children and eliminate them along with any Jedi that might be training them. “So it will be done,” says the Inquisitor. Opening on a Star Destroyer is a Star Wars tradition of sorts. Four out of the seven Star Wars films to date feature the ships in their opening shots.

It is later revealed that the Inquisitor is, in fact, the Grand Inquisitor, the leader of a bigger force. In the Season Two episode “The Future of the Force,” we see other Inquisitors hunting down Force-sensitive babies. The first look at Star Wars Rebels was revealed at Celebration Europe in July 2013, and the character of the Inquisitor was announced three months later at New York Comic Con, a full year before “Spark of Rebellion” aired. During a panel at NYCC, series executive producer Dave Filoni said, “Every era of the Star Wars saga seems to have its own marquee villain; a character that really captures the idea of the enemy and what evil is... In this time period between Episodes III and IV, there is the possibility that there are

villainous characters you have, up until now, been unaware of.” In April 2014, Filoni revealed more about creating the Inquisitor, telling Nerdist: “It’s not just about giving someone a red lightsaber… You have to figure out what makes them tick.” Comparing the new character to Darth Vader, he said, “The Inquisitor is more in the intellectual realm. He’s a combatant, yes, but he’s actually somewhat elegant and he likes to dissect you… To him, knowledge is power. The more he learns about you, the more he learns about how to defeat you and your friends. And that makes him a particularly nasty kind of spider to trap.” “Spark of Rebellion” was trailed with four shorts on Disney XD introducing the crew of the Ghost. “The Machine in the Ghost,” “Entanglement,” “Art Attack,” and “Property of Ezra Bridger” are currently available to view on the Star Wars YouTube channel. The prologue with Darth Vader was originally exclusive to ABC, which aired “Spark of Rebellion” on October 26, 2014, and was not included when the show debuted on the Disney Channel and Disney XD earlier in the month. It was the first time that James Earl Jones had provided the voice of Vader for an animated series.

On hiss home planet of Lothal, Ezra Bridger er (Taylor Gray) sees a Star Destroyer royer overhead and makes his way into nto Capital City. There, he helps a merchant rchant who is being harassed by the occupying ccupying Imperial forces, before his attention tention is caught by a group of strangers gers who are stealing Imperial rial supplies. Ezra’s ra’ss journey journ jo u ney iss att the h heartt of Rebels. Reb ebels eb el . An An orphan orph phan p scraping ping pi ng out ou u a living li ing alone liv alone on Lothal otthal al for for at at least leasst half leas half his life, fe, fe e he is resourceful resou re sou urce rceful ful u and always lway wa s on on the the lookout lookou loo kou out ou for opportunities ppor portun tu iti ties es to improve ove ov e his h lot.. According Accco cccordi rd d ng to Season asson son On One ne exec e executive xeccuti utive tive v producer uccerr Greg Gre rreg Weisman, W issman, Weis “He iss very much mu muc u h a street uc s rree st et rat. We used ed to o talk lk k abo about bout ut him as Aladdin Aladd ddin d without witthou ho t the monkey mo onke nkeyy or nk or the the music.” music. mus ic.”” ic. In the e episode ep piso sode de itself, itself its elf,, elf Ezra is is described desc desc escrib ribed rib ed ass both a “street “stre “s tre eet rat” rat” and and a “Loth-rat.” th-r h-rat. at.”” at. at Ezra’s ra’s a s line, liine, ne “I “I li like ke e the sound ound d of that,” that, t ” is is a callback ba k tto bac oH Han an an Solo’ss use usse of of the the e same phrase phrase in The he he Empire r Strikes re Sttrik r ess Back. Bac B a k.


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The Inquisitor, a sinister agent of Darth Vader, prepares to strike.


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This Thi hiss sequ ssequence eq enc equ n e is is our our (an (and dE Ezra’s) z a’s) zra ’ss) fi first rst stt glimpse glimps gli mpse mps e of of Kanan Kana Kana anan n Jarrus Jarr Jarr rrus us (Freddie (Fredd (Fr ed e d ie e Prinze Prrinze Pri nze nz Jr.), Sabine Sabine Wren Wren en (Tiya (Tiy Sircar), (T Sircar Sir c ), car ) and nd d Ze Z b Jr.), Zeb Orrelios O eli Orr elios os (Steve (Steve Bl Blum). lum) um . um

Sab Sabine abine Wr ab Wren and Hera an He raa Syn SSyndulla yndul dduulla la : rebelsl with a cause! caus cau e!!

Ezra tries to take a cut of the stolen loot and finds himself caught in the midst of a firefight between the strangers and their Imperial pursuers. Under fire, he accepts an invitation to come on board the strangers’ ship, where a Twi’lek pilot takes them into a hyperspace. The he pi pilot lot is He Hera ra Syn Syndul Syndulla dulla la (Va (Vanes (Vanessa nessa sa Marshall), M sha Mar hall) hall) ll),, and and the ship ship is the Ghost, Ghost Gh ost,, which w ch wh whi h she owns. owns. Speaking Speak Sp eaking ing to Ne Nerdi Nerdist rdist st before bef e ore the the episode episode epis ode aired, aired ai red,, Mars M Marshall arshal halll said: sa d: “She’s sai “She’s the the brass brasss tacks bras tack ackss of of tthe he operation… ope o perat ration ion… … She She can fly real rreally eally ly wel well, l, and she’s she’s also also a great greatt fi grea figh ghter ter in hand-to-hand hand-t han d-to-h o-hand and co comba combat mbatt and and wit with h her her blaster.” blaste bla ster.” r.” Sh She e cont ccontinued, ontinu inued, ed, “H “Hera era is very very upset upsett about upse aboutt the abou the lives lives tha thatt have have been been lost, lost,, and lost and that that seems seemss to seem to real rreally eally lyy motivate motiva mot ivate te her her.” .” In the aftermath of the theft, Agent Kallus of the Imperial Security Bureau (ISB) arrives to investigate and to stamp out any hint of rebellion. Meanwhile, the Ghost lands on another part of Lothal with relief supplies for residents of an impoverished shanty town. This m marks arks the firstt canonical canonicca al mention n of of the ISB, the Empire’s Empire r ’s re own o secret s cre se r t police, poli olice, and a the first an rsst appearance appe eara ance ncce of o one one of its top age agents, ents nts,, Kallus. Kal Ka allus lu us. Weisman Weis ei man a described de escr c ibe b d Kallus’ Ka Kal allus l ’ role lu ro ole le to Star S r Wars Sta rss Insider Ins nside ide derr in issue152: iss ssue152: s 2:: “Kallus “Kall a uss and nd the Inquisitor Inqu uisitor torr have hav a complementary comp plem lement entary ent ary ry bu b butt diff different fere erent n responsibilities. r sponsibili res i tie es. s Kallus’ Kallus Kal lus us’ s’ job job o is is to roo root oott out o any an hint int of rebellion, rebel bellio bel lio on, so the ac a actions tions tio that tha h t our our guys are e taking ttak king ng n g are w what hat at br bring brings i s them the h m to to K Kallus’ alllus’ all u at us a attention.” ten ntio io on.” n. Th The e Inqu IInquisitor, nqu q isi s tor or, o meanwhile, m nwh mea n ile, is specifically cal ally al ly foc focused ocuse oc use s d on on apprehending app p reh hend ending n Force e users. u ers us e . The shanty s ant sh a y town town wh where here r th the he rebels rebels render aid d is called ca alle ll d T Tarkintown, ark kint intown w , afte a after fterr Gran fte G Grand rand ran dM Moff off f Tarkin, Tar a kin kin, the the e governor govern norr of o the th Outer O terr Ri Ou R Rim. m It m. was a inspired inspi in spi pirred e by b the th he real-life r al-li real -life fe shanty sh ntyy towns sha towns wns that tha at formed form form med in the United Unite Un ited d States S a es dur Stat during ing th the he Great 1930s, were Gre r at Depression Dep e res ressio sion n of of the the 193 30s, 0 wh 0s which h we w re referred “Hoovervilles,” refferr erred ed d to as “Ho “Hoove overvi rville lle les,” s, after s,” after e President Pre r sid sident ent n Herbert Herbe He rbert rt Hoover. Hoover Hoo ver..

One One e of the the inhabitants i h bit inha bitant ntss of of Tarkintown Tar a kin ar kin ntow own resembles Ral ow Ralph ph McQuarrie’s M uar McQ u rie i ’ss early ear y Star S r Warss Sta concept con ncep c t art rt for “Luke e Starkiller,” Stark arkiller,” the th character ch that would uld evolve evolv l e into nto Luke Luk Lu uke Skywalker. Skyw Skywalk alk ker. er The Th he grassy gras ra sy landscape lan andsc dsc ds s ape p off Lothal Lo hal Lot a also harks har a ks back to M ar McQuarrie’s cQu Q arr Qu r ie’ es concept con o cept paintings, on s as does ess th th look the k of o Capital C pital City and vvarious Cap a ous ar ari us other her e as aspe aspects pects pe of o the t animated ted se series. s. Att Won Wonder Wo WonderCon rCon in 2014, Rebels ar a artt director directo t r Kili K Kilian ilian Plu il ili Plunkett unkett said: “We e went w nt we n back bacck to to vvery ery ry early Ra Ralph alph lp paintings, painti pai tings ing , and and n thatt sort sortt off palette p let pa le te e informed inf nfor n ormed all ll off the e characters,” char char ha act acters ers,” ers ,”” add adding ding g that tha h t his hiss art art team got to o ex explo explore plore plo re “mu “m “much ch h happier, h pie ha hap er,, brighter bri right igh ghter col colors” lors rss” tthan h th han theyy did d in n The e Clone Cl e Wa Cl Wars W rss TV V serie series. rie rie ries. es.. “Ezra’s “Ezra’ ’s Theme” Them me” can ca be he heard rd in the th he Tarkintown Tarki rkinto rki n wn seq nt ssequence. quen en nce. Rebels R els Reb lss composer ccom ompos omposser Kevin Ke Kev e in n Kiner K er told Kin ttol olld Ins IInsider side id d r ab about bout ut the development music issue developm p ent of th pm that mus sic ic in i iss sue e 155: about when 155 “Ezra’s “Ezrra’s a s th theme e came abo a utt w hen they they were were giving givin gi ng away away w some some fruit fru uit to to


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these people who were really poor and destitute, and I just started writing something for that scene. It was a really heartwarming scene, because at that point in our series, Ezra was still a bit of an angry young man and didn’t know what to think of these new pals of his. It was a poignant moment in his development as a person to be giving back. That was the emotion, and then it just came out.” Something draws Ezra to investigate Kanan’s quarters on the Ghost, where he finds a holocron and a lightsaber. Shortly afterwards, he eavesdrops as the rebels’ plan to rescue a group of Wookiees who have been enslaved by the Empire. On both occasions, he is caught in the act by the rebels, who have little choice but to take him on their mission. John Williams’ “Force Theme” plays when Ezra finds Kanan’s holocron and lightsaber. The scene is the second time that Ezra displays his latent Force sensitivity, which also drew his attention to Kanan on Lothal at the start of the episode. The Ghost’s common room features curved seating around a dejarik table, just like in the interior of the Millennium Falcon. The rebels dock with an Imperial transport under the pretense of delivering a Wookiee prisoner, but they are being lured into a trap. Ezra must choose whether to help his new friends by warning them, or to save his own skin. Kanan’s attempt to pass Zeb off as “a rare hairless Wookiee” is a nod to the Lasat character’s look, which was inspired by Ralph McQuarrie’s early concept art for Chewbacca. “Spark of Rebellion” was originally shown as a 44-minute movie. Hera’s plea to Ezra, “They need you right now,” marks the point at which it is designed to split into two 22-minute episodes for syndication on U.S. broadcast television. Ezra helps the rebels get back to the Ghost, but the young Loth-rat is grabbed by Agent Kallus before he has a chance to board the ship, which makes its escape without him. The door that Kanan and Zeb believes leads to the captive Wookiees is marked with a warning sign. The same sign appears on a door inside Echo Base in a deleted scene from The Empire Strikes Back, where it serves as a warning about wampas on the other side! Ezra says, “It’s a trap!” with enough conviction to make Admiral Ackbar proud.


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This sequence marks Zeb’s first use of the Lasat curse word “Karabast,” which becomes something of a catchphrase for the character. Strains of “The Imperial March” by John Williams can be heard as the Ghost crew races to escape Agent Kallus’ trap. Composer Kevin Kiner told Star Wars Insider in issue 155, “I had over 100 episodes of The Clone Wars to say pretty much everything I personally wanted to say about Star Wars musically… If I had done Rebels first and had to reference John’s themes more often it would have bothered me. I might have felt a little stifled. But since I spent all those years [on The Clone Wars], it was really refreshing to go back to John’s themes and start exploring those.”

In Insider issue 163, Taylor Gray talked about Ezra’s growing awareness of the Force and his connection to Kanan: “It’s hard for him at first. When he comes across the other rebels and they try to bring him in, he’s completely opposed to it. He wants to handle things on his own. But he has a bond with Kanan, and Kanan is the real reason why he stays with the rebel crew. Kanan went through the same type of things as Ezra did as far as being Force-sensitive, so he is able to connect with him on that level and their relationship grows.”

Imprisoned on board an Imperial Star Destroyer, Ezra takes out his frustration on the only one of his possessions that hasn’t been confiscated by stormtroopers: the holocron he retained from Kanan’s quarters. He is surprised when the device activates and plays back a message from Obi-Wan Kenobi. Ezra tells Agent Kallus that his name is Jabba the Hutt. His use of the name, and Kallus’ evident disbelief, suggest that crime lord’s reputation was already well established throughout the Outer Rim nine years before the events of Return of the Jedi. The slimy Hutt’s name becomes a go-to alias for Ezra in later episodes. The message from Obi-Wan Kenobi is voiced by James Arnold Taylor, who also played the character in The Clone Wars TV series and the Clone Wars microseries. According to John Jackson Miller’s novel A New Dawn, the idea of sending out a warning message to all Jedi came from Kanan himself, when he was a Padawan known as Caleb Dume.

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The crew of the Ghost board the Star Destroyer to rescue Ezra, and find that their job has been made easier by the fact that Ezra has already escaped from his cell. During his escape, Ezra overhears the location of the captured Wookiees that the rebels had planned to liberate. When the rebels debate whether or not to rescue Ezra, their droid’s vote is taken into account. This is the first indication that Chopper (or C1-10P) is regarded as a full-fledged member of the crew. Various elements of Chopper’s design—such as the arms he raises triumphantly after voting—are based on Ralph McQuarrie’s initial concept paintings for R2-D2. The shape of the explosive powder that Sabine sprays onto the hangar deck is her own personal calling card. In Star Wars Insider issue 154, Lucasfilm concept artist Chris Glenn said: “I’m probably most proud of the rebels’ phoenix logo. I made it one day on a whim while working on really early versions of the Ghost ship… It’s meant to hint at the Rebel Alliance symbol that will appear in the later films.” The Ghost sets course for the spice mines of Kessel, where the rebels free the prisoner Wookiees—but Kallus is not far behind. To escape with the Wookiees—and their lives—Kanan is forced to reveal his skills as a Jedi. When Ezra downs a stormtrooper with his slingshot, the unlucky Imperial

lets out a Wilhelm scream. This familiar sound effect has featured in well over 200 films and TV shows, and was included by sound designer Ben Burtt in all the Star Wars and Indiana Jones projects on which he worked, starting with A New Hope. C-3PO mentions the spice mines of Kessel in A New Hope, but the planet had not been seen on screen before “Spark of Rebellion.” The Rebels’ creative team drew on extensive notes and designs made by George Lucas when it came to realizing the planet. Though Kallus identifies Kanan as a Jedi, the Jedi Order fell when he was still a Padawan. The Marvel comic Kanan: The Last Padawan depicts how he was at the side of his Master, Depa Billaba, when Darth Sidious issued Order 66, barely escaping with his life while his Master was killed. By revealing his Jedi training in front of Kallus, he marks out himself and his companions as not just a thorn in the ISB’s side, but some of the Empire’s most wanted! After seeing the freed Wookiees on their way, the Ghost returns Ezra to Lothal. Ezra returns the holocron, which Kanan can see has been activated. Not doubting that Ezra is strong with the Force, Kanan invites him to join the crew of the Ghost and learn what it means to be a Jedi. Ezra accepts. Meanwhile, Kallus informs the Inquisitor that he has encountered a Jedi. Kanan’s description of the Force paraphrase the words of Obi-Wan Kenobi when he first outlines the Force to Luke Skywalker in A New Hope. As a student under Master Kenobi at the Jedi Temple on Coruscant, Kanan may well have heard the same “Force 101” speech from Obi-Wan himself.

REBEL INTEL “SPARK OF REBELLION” Written by: Simon Kinberg Directors: Steward Lee, Steven G. Lee Supervising director: Dave Filoni Executive producers: Simon Kinberg, Dave Filoni, and Greg Weisman First aired: October 3, 2014 (Disney Channel), October 13, 2014 (Disney XD), October 26, 2014 (ABC) Ratings: 6.5 million (Disney Channel and Disney XD)

KEY QUOTES “This is Master Obi-Wan Kenobi. I regret to report that both our Jedi Order and the Republic have fallen, with the dark shadow of the Empire rising to take their place.” —Obi-Wan Kenobi “There’s just something about the feeling of their helmets on my fists.” —Zeb Orrelios “I’m in space... and I’m about to die!” —Ezra Bridger

Jedi Master Obi-Wan Kenobi delivers a crucial message while Zeb takes on the Empire (opposite page)!

“If all you do is fight for your own life, then your life is worth nothing.” —Hera Syndulla “Who is that kid?” —Kanan Jarrus


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es with Tom St. Amand Jon Berg (center) pos ht), and the inside of (rig (left), Doug Beswick

attack during the Supervising the AT-AT Strikes Back. e making of The Empir

a tauntaun.

ED MITH, INTERVIEW S . G S A M O H T ), 5 , THE ART OF R (1980-198 IC E G G A A M N A & M T H M IG IL L R L E IA FORM IS BOOK, INDUSTR ). WHILE PORTIONS OF THE H R O F 5 8 9 1 IN G E JON BER EL REY/BALL ANTIN OR THE FIRST TIME, IS THE D , 6 8 9 (1 S T C E F F E, F SPECIAL E IN THE BOOK, HER D N U O F E B N A C INTERVIEW Did you have a metal ! N IO T A When did you first try to make armature inside with S R E V N O C FULL a creature yourself? joints and all? homas G. Smith: When did you first get interested in making creatures for movies? Jon Berg: I was born and raised in the Los Angeles area. One of my earliest memories was when my older sister took me to see a film called Mighty Joe Young (1949). I was fascinated by the ape and she tells me I held my hands over my eyes, I was so scared. But I remembered seeing images from the picture more like a bad but mesmerizing dream. It apparently made a big impression on me. Then, when I was older, I saw lots of Disney TV shows and movies and Ray Harryhausen films. Ray was an inspiration to all of us who loved creatures and stop-motion animation. It all made a big impression on me, but not like Mighty Joe Young. That’s something I’ll never forget.


I first started sculpting with clay and invented games using little clay creatures. Then, when I was in grade school, I used to make little flipbooks, stick figures drawn so they move on a pack of cards. When you flipped them, they seemed to come alive and dance around the paper. It was a good way to learn how movies worked. But I didn’t get into taking pictures till after high school. I worked with a friend who had an 8mm movie camera. The camera didn’t take single frames, so we had to click the shutter as quickly as we could and usually got more than one frame. Reverting to my Mighty Joe Young thing, I made a little gorilla. I tried some stop motion with the gorilla puppet. This was before we tried to make our own movie.

Oh yeah. I found a magnifying glass that had a ball and socket support so I copied that for my gorilla. I located books about it, but had to learn how to make the right size armature for my gorilla and then there was the trick of getting the metal armature skeleton inside the rubber puppet. I built the metal parts by myself. I had to machine them on a lathe. Were you still in high school then? When I built the puppet I was, but


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k, and Jon Berg, Doug Beswic slow invasion of the unt mo t pet Phil Tip the movie!) in r Hoth (it was quicke

we didn’t make the movie until later. I built the rubber gorilla to go over the armature skeleton and then added fur to it. Did you ever think when you were in high school that you would have a career in movies? High school seemed so irrelevant to my life. I wasn’t a good student at all. I was bored in high school and something like building the armature was more interesting to me. I got called into the high school principal’s office. He said, “Why are you getting ‘Cs’ when tests tell us you ought to be doing a lot better?” My parents were worried, too. While both of my brothers were working on cars and doing normal stuff kids might do, I was spending my time making a rubber monkey! So what did your parents say to you about this passion for building creatures? My dad was sweet, but he could be stern, too. I remember when I was working on his lathe to grind my armatures, the metal got so hot I had to hold it with a cloth and then the cloth got stuck in the lathe machinery. It went “paa, paa, paa!” I couldn’t stop it, and I was scared what my dad would say when he found out. When he heard the sound, he just laughed. My dad worked at North American Aviation and he’d bring home scrap parts, some of it raw materials. I would look through these old parts and see how I could use them in one of my film projects. This experience on the lathe would come in handy later in my film career. When you left high school, where did you go? I went to Santa Monica College in Santa Monica, California. It was only a few miles from my house; until I got my driver’s license my parents drove me to school. What courses did you take in college? I took the general curriculum courses. I took photography, which I couldn’t take in high school. I also took some art classes.


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pett (center), Working with Phil Tip ht) on the and Joe Johnston (rig r. lke wa prototype

al holographic Working on the origin Wars. r Sta m fro e chess gam

What happened after you left college? For a while I drove a taxicab in Beverly Hills. At the same time, I was still making more of my own creatures and hoping to get involved in movies. What were you making? Creatures of various types. Then I met a fellow who saw some of my work and he got me an interview at a little studio that made commercials called Cascade Pictures. They were making the Pillsbury Doughboy commercial. In that one, all the commercials ended with a human finger poking the Doughboy’s stomach. The Doughboy rubs his stomach and giggles. They needed someone to fill in for the long shots of the puppet and to animate the Doughboy. I think the official name for him was “Poppin’ Fresh.” Someone else was doing the close-up shots and then they’d cut to a long shot and that was what I’d do. My work wasn’t so critical since it was seen in long shot. It helped that I knew something about armatures and had some basic experience at animation. And, of course, I learned a lot right there on the set.

the Star Wars films. I don’t know of any schools where this sort of thing is taught. You just have to do it and learn from the pros. There was a good guy at Cascade named Phil Kellison and he gave me a chance to do other things in film and showed me how to build miniatures. He helped all of us and was willing to give young people a chance. So how did you get a chance to work at Industrial Light & Magic on Star Wars? Dennis Muren left Cascade and had been working at ILM for some time. We heard about it, but I never saw what they were doing. Then Dennis called me to say George Lucas was looking for some


Weren’t there others working there who would later join ILM on Star Wars? Oh, yeah. That’s where I met Dennis Muren on camera, Ken Ralston and Phil Tippett were also animating. Now that I look back, I realize that these connections were important later. Cascade Pictures was the training ground for about four or five key ILMers. The TV commercials we were doing may sound trivial now, but it was great experience for our later work at ILM on

characters for a scene. George felt the canteen [cantina] scene lacked the right atmosphere. He envisioned something more like intergalactic creatures standing around the bar and sitting at tables. So Dennis said, “Why don’t you work up some ideas and I’ll see to it that George has a look at it.” So I made some creature sculptures that I thought might be found in an intergalactic canteen. At that time, Rick Baker was [also] hired to make creature outfits for the canteen scene. So after George approved some I made, I went to work with Rick who added some other ideas. We built the characters. While we were doing that, George decided he

wanted to show a unique chess game. He originally wanted to use miniaturized people in sort of a holographic effect. But when he saw Westworld (1973), he realized that they had done that. He didn’t want to re-do what was already done. That’s when he asked Phil Tippett and me to make miniature creatures for the chessboard and animate it. George didn’t like the idea of stop motion very much. He thought it looked jerky. But it seemed appropriate for the chess pieces. Stop motion would later play a big part in the next film, The Empire Strikes Back. What else did you do on the first Star Wars? I built a creature [the dianoga] for the compactor scene. (Laughs) I’m not too proud of that one and I’d rather not get into it. Is it true that The Empire Strikes Back was much harder than the first film? I’m glad to hear that I wasn’t the only one to feel that way. It sure was tough. When we started, they said it would be easier than Star Wars because we already had most of the models built for Star Wars. But there were more to build and a lot of stop motion to do. Stop motion creatures are complicated models because they have to actually move. They really needed more people in the model shop than they had. To get the work done we put in incredible overtime. Some were putting in 60 hours a week and more. What did you spend most of your time on? I mainly worked on the Imperial walkers [AT-ATs]. Joe Johnston designed them and I took his concept and converted it into a full model for stop motion. They were more complicated than regular


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ned parts examining the machi Berg at work in ILM lt. bui be to rs lke for three miniature wa

models; they had to be animated, walk, and stand up without falling over. In some scenes, we needed two of them. This required machined parts. To build it, I had to use my experience as a machinist, a tinkerer, and a stop-motion animator. That was my main job. And after I built them, I animated them a frame at a time. Was this a bigger challenge than animating a regular puppet? Since they were in the middle of a large snowfield, the trick was to reach it without messing up the snow. We built a trap-door so I’d pop up, do my animation, then close the door and go below while the camera shot the exposure. We used small glass pellets, macro balloons, for the snow. Going up and down through the trap door, I still had to remember where I was in the last frame and where I was going. Did you work with Phil Tippett on the tauntaun and wampa in Empire? Phil did most of that and I helped a little. I helped on the animation. The tauntaun is the first place we tried motion control while animating a puppet. This concept

, pett, Tom St. Amand Joe Johnston, Phil Tip k, wic Bes ug Do g, Ber Nilo Rodis-Jamero, Jon l walkers! eria Imp the off w proudly sho

would later be expanded and become what we jokingly called “Go Motion.” The wampa was mainly Phil’s work. He is a genius and one of the best artists I know. He kept it as simple as possible. He said, “Get the carpenter shop to build a frame and put in a crowbar,” and then he built a muppet head with wax on its fur to look like snow. The wampa is seen in one very quick shot, but the effect is startling and works in the context of the scene. Where did you film it? We shot it just outside the door of ILM, in sunlight with the blue sky as a background. There was a photo of the camera set-up in the American Cinematographer magazine. It showed ILM’s neighborhood in the background. From this photo, one of our fans figured out where ILM was. Its location had always been secret. We were in an industrial area of San Rafael and there were no signs on the front of the building to indicate it had anything to do with making visual effects or Star Wars. Even the front door had a sign that said, “Kerner Optical.” Kerner is the street where it is located.

Here ea are r the re he In Indus Industrial dustri trial al Light Lig ight & Magi M Magic agicc agi (ILM) (IL Here LM) M are productions produc the uctio tions Industrial i whi in w which Light ch h Ber Berg &gMagic participated: par a (ILM) ticipa p productions ted ed:: in which Berg participated: Star Sta t r Wars Wars: a : Epi Episod Episode sode e IV IV A New Ho H Hope p pe (1977) Star Wars: Episode IV (Creature (Cr C eature u Abu build builder, New ilder, er, Hope stop st op(1977) motion mot ion animator) a ani mator) mat (Creature or) builder, stop-motion animator) Sta t r Wars a : Epi Episod sode e V The e Empi E mp re mpi Star Wars: Episode Empire Str t ike k s Back aStar ack k (1 (1980 980)) Episode V Strikes (1980) Wars: (Creat (Cr eature eat ure re e bu build ild lder, eStrikes er er, sstop st opBack motion mot ion (Creature The Empire builder, (1980) animat mator) or) animator) (Creature builder, stop-motion animator) St Sta a s: Epi Episod sod o e VI VI R eturn etu rn of the e Starr Wars Wars: Episode Return JJed di ((1983) di 198 98Star 3 Wars: Episode VI 3) Jedi (Creature uReturn e consultant) consu nsulta ) of ltant) thent) Jedi (1983) (Creature consultant) The h Ew Ewok ok Adventure Advent Adv en ure (1 ((1985) 985 8 ) (C (Cr eature ure Ewok build bu ilde eAdventure r, stop op mot moti ion ion (Creature The builder, motion (1985) an ani mator or and builder, actor ac tor pl p ayi y ng g the he animator (Creature playing stop-motion Gor o ax.) ) Gorax.) animator and actor playing the Gorax.) Star War ars:: E pisode pis ode IIII Re even enge ge off the h he Wars: Episode Revenge Sit i h (2 ((2005) 005) 005 ) Wars: Episode III Sith Star (Mo M delRevenge maker ma ker)) of the Sith (2005) (Model maker) (Model maker)

END NOTE Jon left ILM in 1980 after working long hours on The Empire Strikes Back. He returned from time to time to do special creature assignments and to act as a consultant. In 1984, he built the apelike Gorax monster for Lucasfilm’s ABC film, The Ewok Adventure. He not only designed the creature, he built an ape suit and played the monster on a miniature set with Joe Johnston directing the second unit. He had come full circle. Among the 50 million Americans who saw this film on their TVs, he was probably scaring kids the same way he was scared when he first saw Mighty Joe Young in 1949. And of course ILM is no longer in the San Rafael industrial building where the wampa was filmed for The Empire Strikes Back; it is now in the San Francisco Presidio, where it’s preparing to tackle… Episode VII! a


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AUTHOR TO CLAUDIA GRAY’S STAR WARS NOVELS Star Wars: Lost Stars (2015) Star Wars: Bloodline (2016)

CHUCK WENDIG’S STAR WARS NOVELS Star Wars: Aftermath (2015) Star Wars: Aftermath: Life Debt (2016) Star Wars: Aftermath: Empire’s End (2017)



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laudia Gray: Okay, Chuck, a little bird has told me some of the good stuff you’ve written for Han and Leia in Life Debt, and I’m going to be totally honest: I’m so jealous. Like, I’d pillow fight you for it. In the arena. We meet at dawn. Seriously, how psyched were you when you found this out? And how did you start to prepare? Chuck Wendig: I might win a pillow fight. If only because I have one of those memory-foam ones, and it’s heavy like a brick. Though if this is really happening at dawn, you win, because I’ll still be asleep. What were we talking about? Han and Leia! I was psyched. I am psyched, and I have no idea how I did it. This is wearing the shoes of giants—giant characters, giant voices, giant personalities. We have Lucasfilm and the Story Group to guide these stories, but I think the one thing I have specifically going for me is that the movies are such a part of my psychic tapestry that these characters aren’t just on the screen, they’re in my head. So when it came time to translate them to the page, at certain points I felt them rattling around in there. All I had to do was carefully tip my head and spill them out. Sometimes it felt very natural. The times it didn’t feel natural were when I thought too hard about it! Worrying too much. Your task was more challenging, and the result, by the way, is totally sublime. You tackled an iteration of Leia that exists beyond our margins. We get to


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see her in The Force Awakens, but not that much. You get to, in a way, own her presentation in that era of the universe. What was that like? How do you prepare for that? How did you evolve her to where she is now in Bloodline? CG: I’m so glad that you enjoyed Bloodline and its take on Princess Leia. I know I should be calling her General Organa or at least General Leia by now, but it’s going to take more than six months to break the habit of nearly 40 years. As Max Von Sydow said, “To me, she is royalty.” Honestly, I think my process is a lot like yours, in that it really isn’t a writerly process at all. It’s a fan thing. If you’re a hardcore fan, you keep the characters you love close to you. In this case, we’ve both kept Han and Leia close for decades. Asking what they’d think or how they’d feel is second nature. As soon as I learned where Leia was at the time of Bloodline—the Resistance, the imminent fall of Ben, and the break with Han—my fan brain took over. All my writer self had to do was keep up with the pure nerd fuel being created. I feel weirdly unprofessional admitting that. Obviously I can’t approach the books only as a fan. If I did that, my books would basically be 400 pages of Han and Leia having cute banter, and then Obi-Wan Kenobi coming back from the dead. Or it would read a lot like my fanfic. But I can’t write these characters and this universe without my fan self playing a huge role. My geekery is a big part of the fuel I draw on as a Star Wars writer. Is that true for you too? CW: My own fan-love for the franchise is definitely the deepest well of fuel. But I find now, with my son being a fan, and me being an adult with… mostly adult concerns, I want to put my own imprint on the universe. It’s so amazing to be able to put my filthy fingerprints all over this story-world, and I feel like a trespasser intruding upon a deliciously forbidden space. The movies are awesome for their more black-and-white, good-and-evil perspective. Two hours of rollicking science-fantasy fun is not a great place for nuance. But novels, man! You get tens of thousands of words, hundreds of


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Han and Leia say a sad farewell on D’Qar.


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“[HAN AND LEIA] KICKED THE EMPIRE’S BUTT SIX WAYS FROM SUNDAY! THEY’RE IN LOVE! HAN’S GONNA FREE KASHYYYK! EVERYTHING’S GOING TO BE INCREDIBLE! OR NOT...”—CLAUDIA GRAY pages… I feel like Bloodline uses that well. How do you approach that? How do you translate your adult point of view to the story -world while still having fun? Does Bloodline reflect anything about being a grown-up; about real-world politics or society? CG: Grown-up concerns definitely play a role in Bloodline, especially since Leia’s only a few years older in the book than I am now. I’m still an overgrown fangirl, an optimist, and many other shiny happy things, but I’ve hit the point in life where bad breaks aren’t merely setbacks. Some of them are outcomes. Accepting this, and dealing with the fact that for some things there are no do-overs or consolations: that’s the work of midlife. And some of that is where Leia is in Bloodline. She has the exact same moral compass that she did when she was 19 years old and ready for action, but now she has a greater understanding of the complexity of human nature, including her own. So I got to weave that into the story. There are as few real-life political elements in the book as I could manage, because if I never have to hear about [the 2016] election again it will be too soon. In fact, I made a point of establishing that both the Populist and Centrist factions have right and left wings. However, this hasn’t stopped a lot of people from seeing political parallels in it, including some that I find mystifying. Maybe Bloodline operates as a sort of fan Rorschach test? Others have also spotted a few links to early colonial American politics, which I think is totally credible. I didn’t intend it, but I did go to see Hamilton while I was writing the book; and as anyone exposed to that musical knows, it eats your brain! So it wouldn’t surprise me if some of that bled through.

You, meanwhile, are writing a younger Han and Leia, at what must be the single most optimistic, elated time in their lives. At the point of Aftermath: Life Debt, they just kicked the Empire’s butt six ways from Sunday! They’re in love! Han’s gonna free Kashyyyk! Everything’s going to be incredible! Or not… How do you weave in a more nuanced, threedimensional take on events at a point in life when even older, wiser people could get carried away? CW: Writing Han, Leia, and Chewie at this time is fascinating. Coming off Return of the Jedi, this is a time of great optimism and hope: The New Republic is on the rise, the Empire is on the decline, and Han and Leia are married and poised to have a child. It’s a pivot toward so many better things! Except… Now we know that’s not entirely true, is it? Their child goes bad; Luke is gone; the New Republic is bound up in its own politics; and the First Order is rising out of the shadows. It’s a transitional point for that generation of characters, and I, personally, am at that transition point, too. I still have a lot of the idealism of youth, but I also have a young son, and I can’t be a kid any more. In pop culture, I have my Star Wars and now he has his, too. Politically, I’m caught in a mindset and a country that seems to swerve erratically between optimism, realism, and cynicism—and in the story world, I see that, too. Though the politics aren’t mirrored in Life Debt, the feel of the politics is—and I think that’s the case in Bloodline, too. Part of that weird balance is treating this stuff with nuance and maturity, but not too much nuance and maturity. This is still Star Wars! It’s still laser blasters and laser swords and shaggy co-pilots and slug-bodied gangsters. How do you balance the fun stuff with the heavier material without going too far in one direction?


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The 19-year-old Leia oversees the Battle of Yavin.


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CG: Balancing the dark and the light? It’s historically difficult to do in Star Wars: just ask Anakin Skywalker. Both of the Star Wars books I’ve written to date have been fairly dark—particularly elements of their endings. Thankfully, it’s nearly impossible to write about Star Wars without being drawn to the stuff that makes it the most fun—the humor between the characters, the fantastical planets, the cool ships, and the thrill of getting to zoom around in it all. Oh, and lightsabers.

Lightsabers are TOTAL FUN, but I haven’t been able to write anything with lightsabers yet. Honestly, what I try to do is envision the scenes as though they were in a movie—the screen-wipe transitions, the planetary-orbit shots, and so forth. I find if I’m thinking cinematically, enough of the fun stuff arrives to enliven the heavier moments. CW: A more specific question, then: What’s your favorite part of Bloodline? Or at least the part you loved writing the most? CG: I have to admit, my favorite part to write was one of the heavier scenes, where Leia and Ransolm Casterfo begin talking about their personal experiences with Vader. We’ve all had those moments where we wind up telling someone things we never thought we’d say out loud to that person—it’s both painful and liberating. It let me dig in deeply with each of those characters and—even though it’s just two people talking—it hopefully sets the stage for a lot of what’s to come. How about you? What scenes should I be looking forward to in Life Debt? CW: I’m lucky enough that Life Debt contains a wealth of excitement. Action on Chandrila, adventure on Kashyyyk, battles in space and on the ground. A lot of this features characters we know and love from the movies, too—Chewie, Han, Leia. But for my mileage, it’s not the exciting scenes that get me. It’s the smaller ones. The more personal ones. I have a scene between Han and Chewie that breaks my heart. I have a scene with Leia and her unborn son that lifts my heart! And that includes some really choice stuff between Han and Leia, too. We see them in The Force Awakens at the end of their journey together, but I get to show them in love and stepping forward into the larger world of marriage and parenting. I get to show how well that fits them, and in some cases, how it doesn’t. I get to write big moments, but sometimes those big moments are also very small ones. Those are the moments that thrill me as a writer, and they’re also the ones I hope really grab the readers, too. a

MORE TO SAY Claudia Gray’s website is and her Twitter handle is @claudiagray

General Leia leads the Resistance against the First Order.

Chuck Wendig’s website is and his Twitter handle is @ChuckWendig



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I think it ended up taking about the same amount of time, about eight or nine months —not including all the time spent coming up with ideas, which had begun probably when I was still drawing the first book.

How long did the book take you to do? Was it quicker than Vader and Son?

In real life, you have a young son. Did you find it a bit trickier writing about young Leia? Yes, but fortunately I have a few friends with teenage daughters who provided some ideas. I also just tried to think back to my own teenage years and what I observed. The tricky part was trying to keep the ideas from feeling too clichéd while covering a lot of different elements.

tar Wars Insider: How did the Vader’s Little Princess book come about? Was it commissioned at the same time as Darth Vader and Son? Jeffrey Brown: When I was showing the first sketches of Vader and Son to Chronicle Books and Lucasfilm, everyone kind of looked at each other and had the same thought: that there should obviously be a sequel where Leia gets her own book! The reception of Vader and Son made it an easy call. It was officially commissioned just after Darth Vader and Son came out.


We weren’t expecting to see so much of young Han Solo! How do you see his role in the book? Since this book was covering life into the teenage years, it was important to show Leia having relationships beyond the parent-child focus that dominates a four-year-old’s existence. Han Solo also gets to be a foil to Vader as the protective father. There are lots of Star Wars cameos in the book. Who was your favorite background character to draw? Boba Fett is still a ton of fun to draw and I was excited to find a place to draw a tauntaun, but my favorite may be IG-88—I wish I’d thought of more places to fit him in. Were any characters tricky to draw? Not a character, but I had a tough time getting the AT-AT just right—giving it a sense of towering over the kids in the picture, while also keeping the kids detailed enough, and doing those things while still fitting the entire AT-AT into the image.

Y COMMENTARY BY JEFFRE een low Hal ia’s BROWN: “Le costume would be her bounty hunter Boussh we outfIT of course, but ce spa the e hav te didn’t qui for this one.”




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Back in Star Wars Insider #133, you mentioned that you didn’t get chance to draw Yoda in Vader and Son. He’s done now—is there anyone else you’d like to draw? Of course! I didn’t get to draw Leia in her Boussh outfit, unfortunately, and would’ve liked to get a wampa in the book at some point. And of course there’s still very few characters from the prequels.


We loved the Jar Jar Binks cameo… He’s actually pretty fun to draw. I don’t know if I could come up with more than cameos for him, I’m afraid. What’s your favorite gag in the book? Probably the one where Han and Leia are kissing—I don’t want to give away the exact joke, but when you see it you can also imagine an alternate version based on the Luke and Leia kiss from Empire.... Your son is six now—has he seen the Star Wars movies yet? We have started watching them—so far he’s seen A New Hope and Empire. He was pretty upset about Obi-Wan Kenobi being


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struck down, and he loves Yoda, of course. He also loves the LEGO Star Wars special The Padawan Menace. So in your book bio, it says you have the Star Wars action figures.… How many and which is your favorite? I stupidly sold off many of them when I left home for college, so now I just have them vicariously through my son. My favorites were always all the Hoth troopers and Yoda. And you’ve got another Star Wars book coming out in the Fall—Jedi Academy (Scholastic)—can you tell us a bit about that? It’s a book about middle school set in the Star Wars universe, with Yoda teaching and a host of new characters. The book mixes comics, journal entries, and faux papers (like pages from the school paper) to tell the story of Roan, a kid who wanted to become a pilot, but ends up having to fit in at the Jedi Academy on Coruscant. What else can we expect from you, comicswise, Jeffrey? This summer, my next autobiographical graphic novel, A Matter Of Life, will come out. It’s another book about fatherhood—this time about growing up with my father, who is a minister, and now being a father myself. a

EXPANDED Vader’s Little Princess is out now See more of Jeffrey Brown’s work at


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The Star Wars Archive Lights! Camera! Action! Rare images from the Star Wars photo archives.


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Pinewood Studios, 2014: Daisy Ridley, John Boyega, and Harrison Ford perform with Lupita Nyong’o who is clad in motion capture gear for her role as Maz Kanata on the set of Star Wars: The Force Awakens.


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tar Wars Insider: How did you hear about the role of Jyn Erso? Felicity Jones: I had a call from my agent saying there was this part that she thought I would be very excited about, but she couldn’t tell me anything about it. So, it went from that to meeting Gareth Edwards in Los Angeles, where I was doing publicity for a film. We met at a hotel restaurant, and it was one of the funniest conversations. He was explaining the story to me and who Jyn was; but every time he said something, he would furtively look around to check that no one was overhearing. I immediately felt that we were like spies having this top-secret conversation. It all came from Jyn, this formidable female character at the center of this film. It’s one of those parts you fight tooth and nail for.

Did Gareth Edwards explain his approach to the film when you first met? What was exciting about that first meeting was it seemed Gareth and I had very similar ways of working. He had made a film with a lot of improvisation, earlier on in his career. I’d seen that and really liked the approach. I, similarly, had come from a background of improvisation, so Rogue One felt like an interesting project to take on, with an approach rooted in character and experimentation. Immediately from that conversation, I thought, This could be a fascinating way to work. Jyn is a complicated character. As an actor, that must be a great thing. I wanted Jyn to be as human as possible. She’s strong when she needs to be and has incredible determination and focus. She has to be tough even when she doesn’t feel like it. But, at the same time, there’s enormous vulnerability to her. I hope that comes across in the way I played her. For all of us, life is difficult and hard. You have to get through things, but often not without a lot of fear. Why does she agree to work for the Rebellion and look for her father? Ultimately, Jyn hates the Empire. She despises it. Whenever Jyn sees Imperial stormtroopers, she just wants to annihilate them, which was great fun to play. Bashing stormtroopers on the head without any feelings of guilt. That’s the motivation behind so much of what she does. And, also, she wants to understand who her father was. That man is a little bit of a blank space for her at the beginning of the film. Jyn’s hoping he’s someone she can respect. That he’s a good person, despite what she has been told. There’s so much hope in Rogue One.


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A prisoner of the rebels, Jyn holds the key to ďŹ nding the Death Star plans.

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Let’s talk about your experience with Gareth Edwards. It’s been tremendous. He made our jobs very easy in the sense we didn’t have to do that old-fashioned thing of being on green screen with no help whatsoever, pretending that a spaceship is coming towards you. It’s none of that. As much as possible, he made it feel real and present. Whenever we did scenes, he would have these huge screens around us projecting all that was happening outside the ship, so we didn’t have to do that hard work of acting. It was all happening in front of us. I have to say it was hard work. There were days and days of sand being thrown in my face, which I will never forgive him for! It was all for a good purpose, to make it feel as naturalistic as possible. What was his original vision? Gareth wanted the movie rooted in authenticity. You see that in all his films. Even if the world is Star Wars, where it’s imaginary; it’s not based on real events. He wanted the audience to absolutely feel like they could be there. That comes down to every detail. I remember early on looking at a test screening of Jyn and Cassian. I remember we were looking at imagery of stormtroopers, and Gareth was looking at the outfits, saying they were far too clean. He said they needed to chuck some mud at them. He wanted the sense that the stormtroopers were at war. I thought that was great; that was exciting. He wanted to bring that reality to it. How important is it that Jyn be a role model for women? With Jyn, Gareth and I felt early on that we wanted her to be a human. That it wasn’t about her being female. It wasn’t that it should ever be the overriding thing you’re thinking about when watching the film. It’s that she’s a person. Everyone, hopefully, should relate to her. Like all human beings, she is sometimes tough and sometimes vulnerable; but it was important early on to present a human face to her. At the beginning, she thought she had to do everything on her own. She was used to pushing through life, completely alone. And what she finds out during the film is that, actually, to become a great leader, a true leader, you have to be able to work with other people and be vulnerable with other people. I felt by the end of the film, Jyn forged true connections with the people around her. They achieved everything together. What do you like best about Rogue One? One of the things I really like about Rogue One is it has an independent feel to it. It’s very experimental in many ways, and it exists in its own orbit. There isn’t a pressure to follow anything that has come before. It truly is something new and has freshness to it. a


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Mission nearly complete? Jyn during the inďŹ ltration of the Imperial facility on Scarif.

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FELICITY ON... DIEGO LUNA Whenever Diego speaks, he always makes absolute sense, which I admire. He’s not a frivolous person in any way, in that respect. He’s incredibly insightful. I really found working with him a good experience. And he has such warmth. I was watching some sequences with him in them, and he has such a lovely presence on screen.

DONNIE YEN AND JIANG WEN The moment Jyn and Cassian meet Baze, he has a huge blaster that could shoot them off the face of the planet. Once she knows that’s not going to happen; it’s an instinctive thing. She also finds them amusing. They’re a good double act. At that point when they meet, she’s seen Chirrut take down multiple stormtroopers. So, she thinks, this guy can be very useful on the team. He has some real skills. It felt on Rogue One like everyone had such fervor for the characters they played. It wasn’t one of those films where you feel like people just turn up and are phoning it in. Donnie Yen and Jiang Wen brought so much heart and humanity, and you see it on the screen. There’s a real affection for what they’re doing. They’ve worked together before so they have a good chemistry between them.

MADS MIKKELSEN I loved working with Mads. He’s very paternal, and we immediately felt a connection when we met. He brought such warmth and humanity to the role, and it felt like we were very much on the same wavelength when we were working. He likes to try out different things. He’s open, not dogmatic, which I really like in actors. I like when someone is prepared and does the work, but then brings something unknown. You always felt like that with Mads. When you watch the films he’s in, he has a wonderful quality where you never know what he’s going to do next.


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BEN MENDELSOHN Ben Mendelsohn plays Krennic, who is Jyn’s archenemy in many ways. He, again, is fantastic. It’s such a brilliant cast, and it’s great to have so many different people approaching the film in so many different ways. There’s such playfulness in them, particularly with Ben. He tried different things during every single take. And, like Krennic, you never know where you stand with him. He has that twinkle and that charm that all good baddies should have. Ben is an actor who will never do anything in a stereotypical, off-theshelf way. He brings such nuance and complexity to his acting. Working with him, playing Krennic, the thing that made him so frightening was you never quite knew what he would do. He had such charm. You could almost think he was your friend. Then, suddenly, you turn around and he’s shot you in the back of the head. It’s that kind of quality that he brought to the part. But Ben’s such a sweetheart. He’s not like Krennic at all— he’s incredibly warm and trustworthy!

ALAN TUDYK Alan’s just brilliant. He would be improvising all the time. Throwing different lines in that cracked us up. We did a scene once, and trying things out, he suddenly referred to Jyn as “the little one,” which being five foot three I took great offense to. He’s just so wonderful. I’m a big fan of Alan’s.


Cassian Andor (Diego Luna) and Jyn Erso (Felicity Jones) in Imperial disguise.

Saw Gerrera is the closest person Jyn has to a parental figure. He’s someone Jyn grew up around as a teenager. In many respects, she learned about life the hard way. Not having her parents around, she had to learn to be very self-reliant; and Saw Gerrera showed her that not only does she have to rely on herself but she also has to have strong convictions and to defend those convictions. When Jyn and Saw meet [on Jedha], there’s an incredible connection between them: a closeness, a bond. But there’s also friction. You can see Jyn is trying to forge her own way. Ultimately, Saw gave her the ability to do that. Forest is so brilliant technically, but also the most soulful human being I’ve ever met in my entire life. He brought humanity and complexity to the character. I feel speechless talking about him. I had a fantastic time with him.


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tar Wars: The Clone Wars has recently celebrated its 100th episode—the fifth season premiere “Revival” was heralded as the milestone, but some number-crunching viewers may wonder if that math adds up. Counting Star Wars episodes never seems easy—pop quiz: Which is the first Star Wars movie? Which one’s the fourth? There are many points of view that can shape the way you add up The Clone Wars. Several episodes qualify as the 100th, so you need to be specific in your inquiry. Do you mean 100th episode in production? Do you count the episodes that formed the theatrical

premiere? Or do you mean the 100th episode broadcast? Or perhaps you mean the 100th episode in chronological order? All of these queries produce different results. If you add up the half-hour installments of The Clone Wars that debuted on television, then “Revival” is the 100th episode produced. It was the 93rd episode broadcast, and actually the 104th in the production run if you count the feature film. Trivia-minded fans may wonder where other episodes sit in comparison to “Revival” in the production order, so with that mind, Star Wars Insider presents for the first time ever, a guide to The Clone Wars series presented in production order. Production numbers are vital bookkeeping statistics to track resources and budgets allocated to each episode. Each three-digit number identifies it as part of a

production season of episodes: Episode 102 is the second produced for Season One, for example; and episode 421 the 21st from Season Four. A glance at this list will reveal some eye-opening facts: these production numbers often have very little to do with the order in which the episodes are meant to be watched, or the order in which they were aired. And there are more episodes produced per season than aired. At any given time, there are many episodes of The Clone Wars in different phases of production at Lucasfilm Animation. To stay far ahead of the broadcast schedule, the team produces 26 episodes per season, though typically only 22 air. This creates a cushion of episodes as more seasons air, giving the team the flexibility to swap episodes in order to produce a desired flow of multi-episode arcs.

PRODUCTION SEASON ONE (EPISODES 1-26) The first season of Star Wars: The Clone Wars was the shakedown season, where the show found its footing and discovered what was required to bring an unprecedented level of sophisticated animated visuals to the TV screen on a weekly basis. The first season was complicated by its own success; upon viewing footage from the first episodes, creator George Lucas thought that this show needed to debut on the big screen. As a result, four episodes from the first season of production were plucked out of air order and assembled into a big-screen feature film, all while production continued on the surrounding episodes. These four episodes, detailed in the list that follows, have never been publicly shown in their original episodic format, but have production numbers and are here considered part of the episode count.


Production Number: 101 Edited into The Clone Wars movie (released August 15, 2008) “The wise Jedi does not trust appearances....” Director: Dave Filoni Written by: Henry Gilroy Anakin and his new apprentice Ahsoka Tano launch a mission to Teth to find Jabba’s kidnapped son. In an abandoned monastery, they face off against Asajj Ventress, battle droids, and an enraged jungle rancor.



Production Number: 102 Broadcast Number: 6 (November 7, 2008; Season 1, Episode 6)

Production Number: 103 Edited into The Clone Wars movie

“Trust in your friends, and they’ll have reason to trust in you.” Director: Rob Coleman Written by: George Krstic R2-D2 is lost during a fierce space battle, and Anakin must find him before the Separatists discover the military secrets locked in his memory banks. Guest-starring: Ron Perlman as Gha Nachkt


Production Number: 104 Edited into The Clone Wars movie

“Nothing worth having is easily gained....”

“The confidence we have in ourselves can easily give birth to confidence in others.”

Director: George Roman Samilski Written by: Steven Melching Additional Dialogue by: Tracy Bern, Tim Burns, Bernice Vanderlaan Anakin and Ahsoka battle a vulture droid in their escape from the Teth monastery. Obi-Wan Kenobi arrives with reinforcements and duels with Asajj Ventress.

Director: Dave Bullock Written by: Henry Gilroy Additional Dialogue by: Tracy Bern, Tim Burns, Steven Melching, Bernice Vanderlaan Anakin and Ahsoka crash-land on Tatooine, while Padmé undertakes her own investigation into the Hutt kidnapping plot, which leads to Ziro the Hutt.


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Production Number: 106 Broadcast Number: 7 (November 14, 2008; Season 1, Episode 7)

Production Number: 109 Broadcast Number: 3 (October 10, 2008; Season 1, Episode 3)

“You hold onto friends by keeping your heart a little softer than your head.”

“Easy is the path to wisdom for those not blinded by themselves.”

Director: Rob Coleman Written by: Kevin Campbell; Henry Gilroy Anakin, Ahsoka, and the traitorous R3-S6 embark on a sabotage mission when they discover that R2-D2 is being held captive at General Grievous’s secret listening post. Guest-starring: Ron Perlman as Gha Nackht

Director: Brian Kalin O’Connell Written by: Steven Melching Anakin uses new long-range Y-wing bombers in a strike against General Grievous’s warship, Malevolence.


Production Number: 105 Broadcast Number: 8 (November 21, 2008; Season 1, Episode 8) “Heroes are made by the times.” Director: Jesse Yeh Written by: Kevin Rubio; Henry Gilroy; Steven Melching Jar Jar Binks poses as a Jedi Knight while trying to save Padmé Amidala from capture on Rodia.


Production Number: 112 Broadcast Number: 10 (December 12, 2008; Season 1, Episode 10) “Most powerful is he who controls his own power.” Director: Atsushi Takeuchi Written by: Henry Gilroy Jedi Master Kit Fisto and his former Padawan Nahdar Vebb explore General Grievous’s forbidding enclave.


7. “RISING MALEVOLENCE” Production Number: 110 Broadcast Number: 9 (December 5, 2008; Season 1, Episode 9) Production Number: 107 Broadcast Number: 2 (October 3, 2008; Season 1, Episode 2) “Belief is not a matter of choice, but of conviction.” Director: Dave Filoni Written by: Henry Gilroy An attack by a devastating Separatist weapon leaves Jedi Master Plo Koon and his clone troopers struggling to survive as Anakin and Ahsoka try to find them.

“Ignore your instincts at your peril.”

Production Number: 113 Broadcast Number: 24 (October 2, 2009; Season 2, Episode 2) “Overconfidence is the most dangerous form of carelessness.”

Director: Dave Filoni Written by: Paul Dini Ahsoka and Jedi Master Luminara Unduli escort a captured Nute Gunray to trial. Asajj Ventress infiltrates a Jedi cruiser to rescue him. Guest-starring: James Marsters as Captain Argyus

Director: Rob Coleman Written by: George Krstic Anakin and Ahsoka intercept bounty hunter Cad Bane, hoping to recover a stolen Jedi Holocron. First episode produced with Cad Bane



Production Number: 111 Broadcast Number: 4 (October 17, 2008; Season 1, Episode 4)

Production Number: 114 Broadcast Number: 5 (October 24, 2008; Season 1, Episode 5)

“A plan is only as good as those who see it through.”

“The best confidence builder is experience.”

Director: Brian Kalin O’Connell Written by: Tim Burns Padmé Amidala and C-3PO are taken hostage by General Grievous, leading Anakin and Obi-Wan to infiltrate the cruiser Malevolence and continue their mission to destroy the warship.

Director: Justin Ridge Written by: Steven Melching On a distant outpost, a squad of rookie clones must believe in themselves to defend against a droid commando invasion. First appearance of the clones of Domino Squad


Production Number: 108 Broadcast Number: 1 (October 3, 2008; Season 1 premiere) “Great leaders inspire greatness in others. ” Director: Dave Bullock Written by: Steven Melching Jedi Master Yoda and a trio of clone troopers are outnumbered by droid forces on the coral moon of Rugosa.


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Star Wars: Heroes of the Force ISBN 9781785851926

Star Wars: A New Hope The Official Celebration Special ISBN 9781785864605


The Best of Star Wars Insider Volume One ISBN 9781785851162

The Best of Star Wars Insider Volume Two ISBN 9781785851179

The Best of Star Wars Insider Volume Three ISBN 9781785851896

The Best of Star Wars Insider Volume Four ISBN 9781785851902

Star Wars: Lords of the Sith ISBN 9781785851919

Rogue One: A Star Wars Story The Official Mission Debrief ISBN 9781785861581


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Production Number: 125 Broadcast Number: 15 (January 30, 2009; Season 1, Episode 15)

Production Number: 201 Broadcast Number: 16 (February 6, 2009; Season 1, Episode 16)

Production Number: 204 Broadcast Number: 22 (March 20, 2009; Season 1 Finale, Episode 22)

Production Number: 206 Broadcast Number: 32 (January 1, 2010; Season 2, Episode 10)

“Arrogance diminishes wisdom.”

“Truth enlightens the mind, but won’t always bring happiness to your heart.”

“A secret shared is a trust formed.”

“It is the quest for honor that makes one honorable.”

Director: Giancarlo Volpe Written by: Eoghan Mahony Bounty hunters led by Cad Bane seize control of the Senate building and take hostages, unaware that an unarmed Anakin Skywalker is still inside.

Director: Robert Dalva Written by: Carl Ellsworth While searching for General Grievous on Saleucami, Clone Captain Rex encounters Cut Lawquane, a clone deserter.

Director: Brian Kalin O’Connell Written by: Steven Melching Anakin and Obi-Wan get caught in the middle of an escalating conflict between the Talz and the Pantorans on the icy planet Orto Plutonia. Joel Aron joins the series as CG Lighting and FX Supervisor.

26.“BLUE SHADOW VIRUS” Production Num Number: mber: 1266 Broadcast Number Number: r: 17 (Febr (February ruary 13, 2009; Season n 1, Episod Episode 17)

Director: Steward Lee Written by: Drew Z. Greenberg Anakin and Obi-Wan discover evidence of a traitor in their ranks while attempting to liberate the planet lanet Christophs Christophsis. A serie series ies prequel to Th The Clo Clone Warss feature film.



“Fear is a disease; sease; hop hope is its onlyy cure.” Direcctor: Gianc Director: Giancarlo carlo Volpe Written Wriitten by: Craig Crraig Titley

Production Number: 202 Broadcast Number: 18 (Febr (February 13, 2009; Season 1, Episode 18) Padmé and an nd Jar Jar are captured captur while searching searchin ng for a secret Sep Separatist bio-weapons lab bio-weapo on Naboo. Nabo oo. Guest-starring: Guest-starr Michael ichael York Yor as Dr. r. Nuvo Vindi Vin


“A single chance is a galaxy gala of hope.”

Production Number: 205 Broadcast Number: 26 (October 16, 2009; Season 2, Episode 4)

Production Number: 207 Broadcast Number: 27 (November 4, 2009; Season 2, Episode 5)

“A true heart should never be doubted.”

“Believe in yourself or no one else will.”

Director: Steward Lee Written by: Melinda Hsu At the Jedi Council’s request, Padmé investigates a Separatist conspiracy in the Senate—and is brought faceto-face with a former flame.

Director: Brian Kalin O’Connell Written by: Brian Larsen The Jedi launch a major assault to recapture Geonosis, with a multipronged assault led by Anakin, Obi-Wan, and Ki-Adi-Mundi.

Director: Directorr: Jesse Yeh Written by:: Brian Larsen The fatal Blue Shadow S virus has infected Ahsoka, Ahsoka Padmé, and a many ny clone troopers. trooper Obi-Wan Obi-Wa and Anakin kin rush to the moons m of Iego to find a cure. cuure.

29. “CHILDREN OF THE FFORCE” Production Produc ction Number: 202 20 Broadcast Nu Number: umber: 25 (Octob (October ob 9, 2009; Season Seaso son 2, Episode 3) “The first step to correctin “T correcting a mistake is pati patience.” atience.” Director Director: or: Brian Kalin O’Con O’ O’Connell Written en by: Henry Gilroy Gilroy; Wend Wendy ndy Meracle The Jedi pursue purs Cad Bane, Bane who iss kidnapping Force-sensitive FForce-sens evil children ldren as part oof an evi Sith plot.


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Production Number: 208 Broadcast Number: 28 (November 13, 2009; Season 2, Episode 6)

Production Number: 211 Broadcast Number: 33 (January 22, 2010; Season 2, Episode 11)

Production Number: 214 Broadcast Number: 31 (January 1, 2010; Season 2, Episode 9)

“No gift is more precious than trust.”

“Easy isn’t always simple.”

“For everything you gain, you lose something else.”

Director: Giancarlo Volpe Written by: Brian Larsen On the Geonosian battlefield, Luminara and Anakin act as decoys to divert new enemy super tanks, while Padawans Barriss Offee and Ahsoka attempt to destroy a Separatist droid factory.

Director: Giancarlo Volpe Written by: Drew Z. Greenberg When a wily pickpocket steals Ahsoka’s lightsaber, she enlists the help of an ancient Jedi to track down her weapon and reclaim her honor. Guest-starring: Jaime King as Cassie Cryar.




Production Number: 216 Broadcast Number: 36(February 12, 2010; Season 2, Episode 14) “In war, truth is the first casualty.”

Director: Giancarlo Volpi Written by: Ben Edlund Jedi Master Eeth Koth is taken hostage and tortured by General Grievous, prompting Obi-Wan, Anakin and Adi Gallia to devise a daring rescue plan.

41. “DEATH TRAP” Production Number: 215 Broadcast Number: 42 (April 23, 2010; Season 2, Episode 20)

Director: Brian Kalin O’Connell Written by: Drew Z. Greenberg On Coruscant, Satine and Obi-Wan try to expose the motives of Death Watch before the Republic launches a pre-emptive invasion that could tip Mandalore into war.


“Who my father was matters less than my memory of him.” Production Number: 209 Broadcast Number: 29 (November 20, 2009; Season 2, Episode 7)

Production Number: 212 Broadcast Number: 30 (December 4, 2009; Season 2, Episode 8)

“Sometimes, accepting help is harder than offering it.”

“Attachment is not compassion.”

Director: Steward Lee Written by: Eoghan Mahoney Obi-Wan and Ki-Adi-Mundi spearhead the search for a missing Luminara on Geonosis, leading to a mysterious lair filled with undead Geonosian warriors.


Director: Steward Lee Written by: Andrew Kreisberg When Geonosian brain in worms take control of their supply upply ship, Ahsoka and Barriss Offee must stop the vessel from unleashing the deadly plague upon the galaxy.


Director: Steward Lee Written by: Doug Petrie Disguised as a clone cadet, young Boba Fett infiltrates a Jedi cruiser with Mace Windu as his target. Guest-starring: Daniel Logan as Boba Fett and Jaime King as Aurra Sing

Production Number: 217 Broadcast Number: 38 (March 26, 2010; Season 2, Episode 16) “A wise leader knows when to follow.” Director: Dire Kyle Dunlevy Writt Written by: Brian Larsen Obi-Wan and Anakin must deliver supplies tto blockaded Christophsis using a prototype stealth ship. A prequel to “The Hidden Enemy,” this t story is now the earliest in the sseries’ timeline.

44. ““R2, COME HOME”

Production Number: er: 213 Broadcast Number: 344 (January 29, 2010; Season 2, Episode pisode 12) Production Number: 210 Broadcast Number: 37 (March 19, 2010; Season 2, Episode 15) “Searching for the truth is easy. Accepting the truth is hard.” Director: Brian Kalin O’Connell Written by: Drew Z. Greenberg When Senator Onaconda Farr dies under suspicious circumstances, Padmé sets out to find the person responsible.

“If you ignore the past, you jeopardize the future.” ture.” Director: Kyle Dunlevy unlevy Written by: Melinda da Hsu While investigating rumors mors of a conspiracy surroundingg Duchess Satine of Mandalore, Obi-Wan uncovers the truth about a mysterious Mandalorian rian plot. Guest-starring: Jon Favreau as Pre Vizsla a

Production Number: 218 Prod Bro Broadcast roadcas Number: 43 (April 30, 2010; S Season 2, Episode 21) “Adve “Adversity ve is friendship’s truest test.” Direc Director: Giancarlo Volpe Written Writte by: Eoghan Mahony When a band of bounty hunters leads Anakin and Mace into a A deadly trap t on Vanqor, it’s up to R2-D2 tto battle his way back to Coruscant and warn the Jedi. Corusc


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Production Number: 219 Broadcast Number: 39 (April 2, 2010; Season 2, Episode 17)

Production Number: 222 Broadcast Number: 40 (April 9, 2010; Season 2, Episode 18)

“Courage makes heroes, but trust builds friendship.”

“Choose what is right, not what is easy.”

Director: Steward Lee Written by: Carl Ellsworth Anakin, Obi-Wan, and Ahsoka team up with bounty hunters to train a village of Felucian farmers to stand up to marauding pirates. An extended homage to The Seven Samurai, this episode is dedicated to the memory of Akira Kurosawa.

Director: Giancarlo Volpe Written by: Craig Titley The detonation of an experimental electro-proton bomb by Republic forces awakens an ancient beast within the crust of Malastare.



Production Number: 220 Broadcast Number: 44 (April 30, 2010; Season 2; Episode 22)

Production Number: 223 Broadcast Number: 41 (April 16, 2010; Season 2, Episode 19)



Production Number: 224 Broadcast Number: 47 (September 24, 2010; Season 3, Episode 3)


“Where there’s a will, there’s a way.” Director: Brian Kalin O’Connell Written by: Steven Melching, Eoghan Mahoney Bail Organa and Jar Jar Binks travel to neutral Toydaria in attempt to convince the ruling king to send aid to besieged Ryloth. A prequel to “Ambush” and “Liberty on Ryloth.”


Production Number: 301 Broadcast Number: 45 (September 17, 2010; Season 3 premiere) “Brothers in arms are brothers for life.” Director: Dave Filoni Written by: Cameron Cam ameron Litvack Five headstrong hea clones struggle stru to complete ete their training on Kamino. A prequel to “Rookies.”

Production Number: 225 Broadcast Number: 48 (October 1, 2010; Season 3, Episode 4) “A child stolen is a lost hope.”

“Revenge is a confession of pain.” Director: Dave Filoni Written by: Dave Filoni; Drew Z. Greenberg After combing the Coruscant underworld for a young fugitive, Plo Koon and Ahsoka pursue him to Florrum for a climactic confrontation. The first appearance ance of the underworld portal, which ch will later late figure in the videogame Star Wars: Warss: 1313.

“The most dangerous beast is the beast within.” Director: Steward Lee Written by: Steven Melching A rampaging Zillo Beast breaks out of its experimental laboratory on Coruscant, wreaking havoc on the galact galactic tic capital.

Director: Kyle Dunlevy Written by: Katie Lucas, Steven Melching Chairman Papanoida’s daughters are kidnapped and held for ransom. Ahsoka teams up with Senator Riyo Chuchi to find out answers, while Papanoida’s own investigations take him to Jabba the t Hutt. Guest-starring: Seth Se Green as Ion Papanoida. Papano


52. “THE ACADEMY” ACA 47. “ASSASSIN” N”” Production Number: 221 Broadcast Number: 51 (October 22, 2010; Season 3, Episode 7) Director: Kyle Dunlevy Written by: Katie Lucas “The future has many paths—choose wisely” Tasked to protect Senator Padmé Amidala on a diplomatic mission to Alderaan, Ahsoka is plagued by recurring visions of Aurra Sing. Guest-starring: Jaime King as Aurra Sing. A prequel to “Hostage Crisis.”

Production Num Number: 226 Broadcast Number: Num umber 50 (October 15, 2010; Season Seas ason 3, 3 Episode 6) “Those who enforce the law must obey the law.” la Director: Gianca Giancarlo Volpe Written by: Came Cameron Litvack Ahsoka is assigned assigne to teach a class at a leadership academy on Mandalore, and the zealous young z students uncover the th true nature of a black market mar conspiracy. c

Production Number: 302 Broadcast Number: 46 (September 17, 2010; Season 3, Episode 2) “Fighting a war tests a soldier’s skills, defending his home tests a soldier’s heart.” Director: Kyle Dunlevy Written by: Cameron Litvack The Republic learns of an impending Separatist attack on Kamino. Anakin and Obi-Wan lead the defense of the planet, while clones battle to repulse General Grievous and Asajj Ventress.


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Production Number: 303 Broadcast Number: 52 (November 5, 2010; Season 3, Episode 8) “A failure in planning is a plan for failure.” Director: Brian Kalin O’Connell Written by: Steve Mitchell & Craig Van Sickle Cad Bane kidnaps C-3PO in order to probe the droid’s memory for information on the Senate building. A prequel to “Hostage Crisis.”




Production Number: 306 Broadcast Number: 54 (November 19, 2010; Season 3, Episode 10)

Production Number: 309 Broadcast Number: 59 (January 28, 2011; Season 3, Episode 15)

“Fear is a great motivator.”

“Balance is found in the one who faces his guilt.”

Director: Kyle Dunlevy Written by: Daniel Arkin Padmé Amidala and Ahsoka Tano secretly travel to Separatist space to meet with Mina Bonteri, an old friend and mentor to Padmé who wants to broker a peaceful end to the war. First appearance of Lux Bonteri. First appearance of upgraded character models for Ahsoka and Anakin.


Director: Steward Lee Written by: Christian Taylor A mysterious force draws Anakin, Obi-Wan, and Ahsoka to a distant realm inhabited by a family of god-like Force-wielders who are attempting to discover the identity of the prophesized Chosen One. Guest-starring Liam Neeson as Qui-Gon Jinn, Pernilla August as Shmi Skywalker, and Sam Witwer as the Son.

Director: Giancarlo Volpe Written by: Cameron Litvack On a diplomatic mission to Mandalore, Padmé helps Duchess Satine investigate a sinister plot involving poisoned tea.


Production Number: 307 Broadcast Number: 55 (December 3, 2010; Season 3, Episode 11) “Truth can strike down the specter of fear.” Director: Duwyane Dunham Written by: Daniel Arkin Padmé and Bail attempt to rally senators in opposition position to a disastrous bill that would d fund millions of new clone troopers, s, becoming the target of bounty hunter enforcers.

Director: Brian Kalin O’Connell Written by: Christian Taylor The Son takes Ahsoka captive in an attempt to entice Anakin into joining the dark side. Meanwhile, the Daughter recruits Obi-Wan to recover an artifact that can stop the Son.


Production Number: 310 Broadcast Number: 57 (January 14, 2011; Season 3, Episode 13) “Evil is not born, it is taught.” Directed by: Kyle Dunlevy Written by: Katie Lucas When Count Dooku calls upon the Nightsisters of Dathomir to seek a replacement apprentice, Mother Talzin and Asajj Ventress conspire to create a deadly warrior. Guest-starring: Clancy Brown as Savage Opress.

“The path to evil may bring great power, but not loyalty.” Director: Giancarlo Volpe Written by: Katie Lucas Anakin and Obi-Wan are sent to track down the mysterious Savage Opress, as the monstrous Sith apprentice carries out his betrayal of Count Dooku at Asajj Ventress’s command. Guest appearance by Delta Squad clone commandos.

Production Number: 308 Broadcast Number: 56 (January 7, 2011; Season 3, Episode 12)

“Love comes in all shapes and sizes.”

“The swiftest path to destruction is through vengeance.”

Director: Steward Lee Written by: Steve Mitchell & Craig Van Sickle Freshly escaped from jail, Ziro the Hutt tries to lay low on Nal Hutta, while Quinlan Vos and Obi-Wan Kenobi hunt for the criminal and tangle with Cad Bane.

Director: Giancarlo Volpe Written by: Katie Lucas Betrayed by Count Dooku, Asajj Ventress limps home to Dathomir, where she recovers and plots revenge with the help of the Nightsisters.

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“He who surrenders hope, surrenders life.”

Production Number: 312 Broadcast Number: 58 (January 21, 2011; Season 3, Episode 14)

60. “NIGHTSISTERS” GHTSISTERS” Production Number: 305 Broadcast Number: 53 (November 12, 2010; Season 3, Episode 9)

Production Number: 311 Broadcast Number: 60 (February 4, 2011; Season 3, Episode 16)


Production Number: 304 Broadcast Number: 49 (October 8, 2010; Season 3, Episode 5) “The challenge of hope is to overcome corruption.”


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Production Number: 313 Broadcast Number: 61 (February 11, 2011; Season 3, Episode 17)

Production Number: 316 Broadcast Number: 65 (April 1, 2011; Season 3, Episode 21)

Production Number: 319 Broadcast Number: 70 (September 30, 2011, Season 4, Episode 4)

Production Number: 321 Broadcast Number: 72 (October 14, 2011; Season 4, Episode 6)

“He who seeks to control fate shall never find peace.”

“Without humility, courage is a dangerous game.”

“Who a person truly is cannot be seen with the eye.”

“Who’s the more foolish, the fool or the fool who follows him?”

Director: Steward Lee Written by: Christian Taylor The Son renews his efforts to convert Anakin to the dark side, even giving him a glimpse into the future. The reign of the Force wielders comes to an end as the Father uses the Mortis Dagger to destroy himself.

Director: Dave Filoni Written by: Bonnie Mark Ahsoka and a group of abducted younglings find themselves trapped on a Trandoshan moon, prey in an elaborate and cruel hunt.

Director: Brian Kalin O’Connell Written by: Daniel Arkin Because they bear a strong resemblance to one another, Jar Jar Binks assumes the role of the indisposed Gungan leader—and comes face-to-face with General Grievous. This was at one point to be the Season Four broadcast opener, but was shuffled to later in the season to allow for a more action-packed premiere.

Director: Steward Lee Written by: Steve Mitchell; Craig Van Sickle C-3PO and R2-D2 continue their bizarre caper, visiting bizarre worlds, staring down pirates, and stumbling upon a Separatist attack.




72. “MERCY MISSION” Production Number: 314 Broadcast Number: 62 (February 18,2011; Season 3, Episode 14) “Adaptation is the key to survival.”

Production Number: 317 Broadcast Number: 64 (March 11, 2011; Season 3, Episode 20)

Director: Kyle Dunlevy Written by: Matt Michnovetz An elite team of Jedi and clone troopers—including an uninvited Ahsoka Tano —launch a risky attempt to free a captive Jedi general from an impenetrable prison on an inhospitable world. First appearance of Wilhuff Tarkin in the series.

“Without honor, victory is hollow.” Director: Steward Lee Written by: Matt Michnovetz With their escape ship destroyed, Anakin and Obi-Wan must lead their rescued prisoners across a perilous landscape, while Plo Koon launches a rescue task force.



Production Number: 320 Broadcast Number: 71 (October 7, 2011; Season 4, Episode 5)

Production Number: 322 Broadcast Number: 67 (September 16, 2011; Season 4 Premiere)

“Understanding is honoring the truth beneath the surface.”

“When destiny calls, the chosen have no choice.”

Director: Danny Keller Written by: Bonnie Mark R2-D2 and C-3PO undergo a strange journey beneath the surface of the quake-stricken planet Aleen.

Director: Duwayne Dunham Written by: Jose Molina The planet Mon Cala teeters towards civil war between the Mon Calamari people and the Quarren, who are backed by the Separatists.

Production Number: 318 Broadcast Number: 66 (April 1, 2011; Season 3 finale, Episode 22) Production Number: 315 Broadcast Number: 63 (March 4, 2011; Season 3, Episode 19) “Anything that can go wrong, will.” Director: Brian Kalin O’Connell Written by: Matt Michnovetz Having freed the Citadel prisoners, Obi-Wan and Anakin search for a way out of the Citadel and back to Coruscant.

“A great student is what the teacher hopes to be.” Director: Dave Filoni Written by: Bonnie Mark As Ahsoka and her youngling allies struggle to evade Trandoshan hunters, their efforts receive an unexpected boost from a new captive: Chewbacca the Wookiee. The credits to this episode thank Peter Mayhew for being the heart and soul of Chewbacca.


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81. “KIDNAPPED” Production Number: 403 Broadcast Number: 77 (November 25, 2011; Season 4, Episode 11) “Where we are going always reflects where we came from.” Director: Kyle Dunlevy Written by: Henry Gilroy; Steven Melching Zygerrian slavers are behind the sudden disappearance of a colony on Kiros. As Ahsoka and Anakin rush to defuse a series of bombs planted by the slavers, Obi-Wan must fight their imposing leader. Based on a previously published Dark Horse Comics story.



79. “PLAN OF DISSENT” Production Number: 404 Broadcast Number: 78 (December 2, 2011; Season 4, Episode 12)

Production Number: 323 Broadcast Number: 68 (September 16, 2011; Season 4, Episode 2)

Production Number: 325 Broadcast Number: 73 (October 28, 2011; Season 4, Episode 7)

Production Number: 401 Broadcast Number: 75 (November 11, 2011; Season 4, Episode 9)

“Only through fire is a strong sword forged.”

“The first step toward loyalty is trust.”

“The wise man leads, the strong man follows.”

Director: Brian Kalin O’Connell Written by: Jose Molina Anakin Skywalker and his Jedi team have been overrun by the Separatists on Mon Calamari. Ahsoka Tano and young Prince Lee-Char must hold out until Gungan reinforcements arrive.

Director: Steward Lee Written by: Matt Michnovetz Anakin is forced to temporarily turn over command of his clone troopers to the fierce General Krell on the embattled world of Umbara.

Director: Kyle Dunlevy Written by: Matt Michnovetz Realizing there is a better plan than following General Krell’s deadly tactics, a group of clone troopers carry out a rogue, covert operation.




Production Number: 402 Broadcast Number: 76 (November 18, 2011; Season 4, Episode 10)

“Those who enslave others inevitably become slaves themselves.” Director: Brian Kalin O’Connell Written by: Henry Gilroy; Steven Melching Anakin, Ahsoka, Obi-Wan and Rex go undercover to infiltrate the slavers of Zygerria.


Production Number: 405 Broadcast Number: 79 (January 6, 2012; Season 4, Episode 13)

“Our O actions define our legacy.”

Production Number: 324 Broadcast Number: 69 (September 23, 2011; Season 4, Episode 3) “Crowns are inherited, kingdoms are earned.” Director: Danny Keller Written by: Jose Molina Ahsoka and Prince Lee-Char must unite the fractured people of Mon Cala in order to overthrow the Separatist invaders.

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Production Number: 326 Broadcast Number: 74 (November mber 4, 2011; Season 4, Episode 8) “The path of ignorance is guided by fear.” Director: Walter Murch rch Written by: Matt Michnovetz novetz General Krell orders Clone ne Captai Captain aiin Rex and his troopers to o conque conquer er a heavily fortified airbase, rbase, an almost certain suicide de mission.


Directo Director: or: Kyle Dunlevy Writtenn by: b Matt Michnov Michnovetz ovetz With two of his men fa facing execution ution for disobeying Gene General ner eral al Kr ll’s orders, Capt Krell’s Captain Re Rex exx must ust confront his h over overly rlyy rly aggressive essive comm co commander. mmand andeer er. r.

“Great hope can come from small sacrifices.” Director: Danny Keller Direc Wri Wr Written riitte ttten bby: y Henry G y: Gilroy; Steven Melching Anakin tries to convince the Zygerrian ZZy ygerrian Queen that sshe he too is a pawn in an a evil Separatist pplot. lot. Meanwhile, Obi-Wan O Obi Ob -W n toils in -Wa the tth he sslave lave camps ooff Kadavo.


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Production Number: 406 Broadcast Number: 80 (January 13, 2012; Season 4, Episode 14) “Friendship shows us who we really are.” Director: Dave Filoni Written by: Christian Taylor Ahsoka Tano tries to stop Lux Bonteri from making a big mistake. He seeks out vengeance for the death of his mother by teaming up with a fractured Death Watch. Guest-starring: Jon Favreau as Pre Vizsla, and Katee Sackhoff as Bo-Katan

Production Number: 411 Broadcast Number: 85 (February 24, 2012; Season 4, Episode 19) “One must let go of the past to hold onto the future.” Director: Steward Lee Written by: Katie Lucas At Count Dooku’s behest, General Grievous launches a vengeance strike against the Nightsisters of Dathomir, leaving Asajj Ventress directionless and alone.


87. “THE BOX”

Production Number: 414 Broadcast Number: 88 (March 16, 2012; Season 4 finale, Episode 22) “The enemy of my enemy is my friend.” Director: Brian Kalin O’Connell Written by: Katie Lucas Savage and Maul, now reunited, pursue Obi-Wan Kenobi in search of revenge, and the Jedi Knight must ally with Asajj Ventress to defend against the deadly brothers.

93. “A WAR ON TWO FRONTS” Production Number: 407 Broadcast Number: 81 (January 20, 2012; Season 4, Episode 15) “All warfare is based on deception.

Production Number: 409 Broadcast Number: 83 (February 3, 2012; Season 4, Episode 17) “The strong survive, the noble overcome.”

Director: Kyle Dunlevy Written by: Brent Friedman When the Jedi learn of a Separatist plot to kidnap the Chancellor, ObiWan goes deep undercover as a hardened criminal to find out more. Guest-starring: Daniel Logan as Boba Fett

Director: Brian Kalin O’Connell Written by: Brent Friedman The disguised Obi-Wan enlists in a brutal competition with other bounty hunters to determine who will participate in a plot to kidnap the Chancellor.



Production Number: 412 Broadcast Number: 86 (March 2, 2012; Season 4, Episode 20) “Who we are never changes, who we think we are does.” Director: Kyle Dunlevy Written by: Katie Lucas An aimless Asajj Ventress joins a team of bounty hunters under the leadership of Boba Fett. Guest-starring: Daniel Logan as Boba Fett


Production Number: 415 Broadcast Number: 90 (October 5, 2012; Season 5, Episode 2) “Fear is a malleable weapon.” Director: Dave Filoni Written by: Chris Collins Anakin, Obi-Wan, Ahsoka, and Rex travel to Onderon to train local insurgents to battle against the occupying Separatist forces.

94. “FRONT RUNNERS” Production Number: 413 Broadcast Number: 87 (March 9, 2012; Season 4, Episode 21) Production Number: 408 Broadcast Number: 82 (January 27, 2012; Season 4, Episode 16) “Keep your friends close, but your enemies closer.” Director: Bosco Ng Written by: Brent Friedman Fleeing across the galaxy with criminal fugitives, a disguised ObiWan, Cad Bane, and Moralo Eval are tenaciously pursued by Anakin and Ahsoka.

Production Number: 410 Broadcast Number: 84 (February 10, 2012; Season 4, Episode 18) “Trust is the greatest of gifts, but it must be earned.” Director: Danny Keller Written by: Brent Friedman The Chancellor travels to Naboo to preside over a public ceremony, guarded by Jedi Knights. Dooku and his bounty hunters—including an undercover Obi-Wan—launch their kidnapping plot.

“A fallen enemy may rise again, but the reconciled one is truly vanquished.” Director: Bosco Ng Written by: Katie Lucas The dark warrior Savage Opress continues his quest to find his long-lost brother, a search that uncovers a raving madman on the junk planet of Lotho Minor. Guest-starring: Clancy Brown as Savage Opress, and Sam Witwer as Darth Maul

Production Number: 416 Broadcast Number: 91 (October 13, 2012; Season 5, Episode 3) “To seek something is to believe in its possibility.” Director: Steward Lee Written by: Chris Collins Supervised by Ahsoka, the Onderon rebels infiltrate the capital city and carry out a series of strikes throughout the city.


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Production Number: 417 Broadcast Number: 92 (October 20, 2012; Season 5, Episode 4)

Production Number: 422 Broadcast Number: 94 (November 3, 2012; Season 5, Episode 6)

“Struggles often begin and end with the truth.”

“He who faces himself, finds himself.”

Director: Kyle Dunlevy Written by: Chris Collins After a rebel attempt to rescue Onderon’s true king fails, an unexpected ally steps forward to halt the execution and aid the rebel cause.

Director: Kyle Dunlevy Written by: Christian Taylor Ahsoka escorts a group of younglings to Ilum, where they will undergo a crucial rite of passage: finding crystals necessary for the construction of their lightsabers.


Production Number: 418 Broadcast Number: 93 (October 27, 2012; Season 5, Episode 5) “Disobedience is a demand for change.” Director: Bosco Ng Written by: Chris Collins As a full-scale revolt embroils Onderon, the rebels strike a decisive blow, but at a high price..

97. “AN OLD FRIEND” Production Number: 419 Broadcast Number: Originally slated to air at the start of Season n 5, this and other episodes have since been pushed later in the broadcast order.



104. “REVIVAL”

Production Number: 426 Broadcast Number: 89 (September 29, 2012; Season 5 premiere) “Strength in character can defeat strength in numbers.” Production Number: 425 Broadcast Number: 97 (November 24, 2012; Season 5, Episode 8) “Choose your enemies wisely, as they may be your last hope.” Director: Danny Keller Written by: Christian Taylor The pirates and the younglings must join forces when General Grievous attacks Hondo’s Hondo s base on Florrum.

Director: Steward Lee Written by: Chris Collins Fueled by vengeance and rage, Savage and Maul attempt to forge an alliance with pirate forces. Obi-Wan and Adi Gallia chase them down, leading to a deadly confrontation. Guest-starring: Clancy Brown as Savage Opress and Sam Witwer as Darth Maul Moved up in episode order to become the Season Fiv Five premiere. pisode produced, pro The 100th episode not ccounting the episodes in incorporated into thee feature film.

Production Number: 423 Broadcast Number: 95 (November 10, 2012; Season 5, Episode 7) “The young are oft often ftten underestimated.” underestimated ed d.” d. Director: Bosco Ng g Written by: Christian Ta Taylor ayylo loor As the younglings return n from Ilum with Ahsoka, the their eir ei ship comes under attack byy Hondo Ohnaka and his pirates. piratess. Guest-starring: David Tenn Tennant nan nt as Huyang


98. “THE RISE OF CLOVIS” Production Number: 420 Broadcast Number: Originally slated to air at the start of Season n 5, this and other episodes have since been pushed later in the broadcast order.

99. “CRISIS AT THE HEART” Production Number: 421 Broadcast Number: Originally slated to air at the start of Season n 5, this and other episodes have since been pushed later in the broadcast order.

Production Number: N 424 Broadcast cast Number: Nu 96 (November 17, 2012) Director: Brian Kalin O’Connell Written by: Christian Taylor With Ahsoka captured by Hondo, the younglings work together and pose as an acrobatic troupe pe to infiltrate the thhe pirate’s den. den


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Compiled by Pablo Hidalgo


ontinuing onti ont inuiing In IInsider nsi sid iderr’s Starr id Wars: The Clone Clon ne Wars ep episode pisode guide using production numbers to keep track of installments produced (as opposed to, say, episodes aired). This method of organizing Clone Wars episodes results in unique groupings, as the Production Seasons of 26 episodes each differ from the broadcast seasons, which are sometimes 22, 20 and, most recently, 13 episodes long. Now that Star Wars: The Clone Wars: The Lost Missions have triumphantly debuted on Netflix, Star Wars Insider revisits its listing, picking up on the 105th episode produced in the series, the first in Production Season 5.

105: “EMINENCE” Production Number: 501 Broadcast Number: 102 (January 19, 2013; Season 5, Episode 14) “One vision can have many interpretations.” Director: Kyle Dunlevy Written by: Chris Collins After barely escaping their encounter with the Jedi and the pirates alive, Savage Opress and Darth Maul are found by Death Watch. Both parties forge an alliance when they realize they have a common enemy in the Jedi general Obi-Wan Kenobi. Guest-starring: Jon Favreau as Pre Vizsla, Sam Witwer as Darth Maul, Clancy Brown as Savage Opress, and Katee Sackhoff as Bo-Katan.




Production Number: 502 Broadcast Number: 103 (January 26, 2013; Season 5, Episode 15)

Production Number: 503 Broadcast Number: 104 (February 2, 2013; Season 5, Episode 16)

Production Number: 504 Broadcast Number: 98 (December 1, 2012; Season 5, Episode 10)

“Alliances can stall true intentions”

“Morality separates heroes from villains.”

“Humility is the only defense against humiliation.”

Director: Bosco Ng Written by: Chris Collins With the backing of the Hutts and an army of the galaxy’s most vicious criminals—including the Death Watch, Black Sun and the Pykes—Pre Vizsla and Darth Maul lead an attack on the planet of Mandalore. Conquest of Mandalore strains the tenuous alliance between the Sith and Death Watch. Guest-starring: Jon Favreau as Pre Vizsla, Sam Witwer as Darth Maul, and Clancy Brown as Savage Opress.

Director: Brian Kalin O’Connell Written by: Chris Collins Using Duchess Satine as bait, the vengeful Darth Maul lures Obi-Wan into a trap. Drunk with power, Maul declares himself the true Sith Lord, a claim that will not go unanswered. Guest-starring: Jon Favreau as Pre Vizsla, Sam Witwer as Darth Maul, Clancy Brown as Savage Opress and Katee Sackhoff as Bo-Katan.

Director: Danny Keller Written by: Brent Friedman R2-D2 is part of a team of Republic droids chosen for an important mission led by the diminutive Colonel Gascon to obtain an encryption module from a Separatist dreadnought. The droids must overcome numerous challenging obstacles to succeed in this crucial assignment.

This is the last episode Ian Abercrombie recorded as Chancellor Palpatine.

Although produced after the Maul arc, the D-Squad arc aired first in Season Five.


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Production Number: 505 Broadcast Number: 99 (December 8, 2012; Season 5, Episode 11)

Production Number: 506 Broadcast Number: 100 (January 5, 2013; Season 5, Episode 12)

Production Number: 507 Broadcast Number: 101 (January 12, 2013; Season 5, Episode 13)

“When all seems hopeless, a true hero gives hope.”

“A soldier’s most powerful weapon is courage.”

“You must trust in others or success is impossible.”

Director: Kyle Dunlevy Written by: Brent Friedman After a comet damages their shuttle, R2-D2, Colonel Gascon and the other droids crash on a desolate planet where they must make their way across a bewildering expanse of emptiness to carry out their mission.

Director: Steward Lee Written by: Brent Friedman After finding a nearly vacant town, Colonel Gascon and his droid squad meet a subservient dishwasher, Gregor, who is unmistakably a clone with a serious case of amnesia. Gascon is determined to free the clone from servitude, while the droids must commandeer a Separatist shuttle.

Director: Bosco Ng Written by: Brent Friedman All is not right aboard a seemingly abandoned Jedi cruiser. Colonel Gascon and his droid team learn the ship is a death trap pointed towards an important Republic conference, and must work against time to stop this catastrophe-inthe-making.

The 100th episode broadcast, this was in fact the 110th episode produced.


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112: “SABOTAGE” Production Number: 508 Broadcast Number: 105 (February 9, 2013; Season 5, Episode 17) “Sometimes even the smallest doubt can shake the greatest belief.” Director: Brian Kalin O’Connell Written by: Charles Murray Anakin and Ahsoka are called back from the frontlines to investigate a deadly explosion at the Jedi Temple. Clues surface that a Jedi might have been responsible for the blast.


Production Number: 509 Broadcast Number: 106 (February 16, 2013; Season 5, Episode 18) “Courage begins by trusting oneself.” Director: Danny Keller Written by: Charles Murray When Ahsoka confronts the prime suspect in the Jedi Temple bombing, she suddenly finds herself accused of an unthinkable crime. Anakin argues Ahsoka’s innocence, but the young Padawan finds herself running out of alternatives.




Production Number: 510 Broadcast Number: 107 (February 23, 2013; Season 5, Episode 19)

Production Number: 511 Broadcast Number: 108 (March 2, 2013; Season 5, Episode 20)

Production Number: 512 Broadcast Number: 109 (March 7, 2014; Season 6, Episode 1)

“Never become desperate enough to trust the untrustworthy.”

“Never give up, no matter how dark things seem.”

“The truth about yourself is the hardest to accept.”

Director: Kyle Dunlevy Written by: Charles Murray Ahsoka is on the run from the Republic in the deepest levels of the Coruscant underworld. Her search for answers leads to a surprising alliance, as she needs all the help she can get to unravel the conspiracy and stay ahead of the law.

Director: Dave Filoni Written by: Charles Murray With Ahsoka captured and on trial for murders she didn’t commit, she is expelled from the Jedi Order. She is now being prosecuted in the High Courts by Admiral Tarkin, while Anakin hunts for the real murderer.

All four episodes in this arc (112—115) have titles taken from Alfred Hitchcock movies.

This was the last episode that aired on Cartoon Network prior to the end of the series.

Director: Bosco Ng Written by: Katie Lucas Clone trooper Tup succumbs to a mysterious mental illness that results in the shocking death of a Jedi Master. Unable to account for his murderous actions, Tup is sedated and sent back to Kamino for examination. Anakin and ARC Trooper Fives accompany Tup, but their return trip is ambushed by Separatists.


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119: “ORDERS”

Production Number: 513 Broadcast Number: 110 (March 7, 2014; Season 6, Episode 2)

Production Number: 514 Broadcast Number: 111 (March 7, 2014; Season 6, Episode 3)

Production Number: 515 Broadcast Number: 112 (March 7, 2014; Season 6, Episode 4)

“The wise benefit from a second opinion.”

“When in doubt, go to the source.”

“The popular belief isn’t always the correct one.”

Director: Brian Kalin O’Connell Written by: Katie Lucas In the sterile laboratories of Kamino, the ailing clone trooper Tup and his friend Fives are quarantined for examination following Tup’s shocking murder of a Jedi Master. With the help of medical droid AZI-3, Fives is determined to get to the bottom of Tup’s condition and uncovers a secret buried deep within the Republic cloning program.

Director: Danny Keller Written by: Katie Lucas The body of clone trooper Tup is scheduled for transport to Coruscant, where the Supreme Chancellor’s own doctors will closely examine it. Fives breaks protocol and defies orders to dig up answers, and discovers that there is an organic construct of unknown purpose hidden in the brains of all clone troopers.

Director: Danny Keller Written by: Katie Lucas Fives continues to push for answers regarding the mystery of the clone contamination and secures an audience with Supreme Chancellor Palpatine. But the situation collapses when Fives is accused of attacking the Chancellor, and he must flee deep into the Coruscant cityscape while pursued by fellow clone troopers.


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Production Number: 516 Broadcast Number: 116 (March 7, 2014; Season 6, Episode 8)

Production Number: 517 Broadcast Number: 117 (March 7, 2014; Season 6, Episode 9)

Production Number: 518 Broadcast Number: 118 (March 7, 2014; Season 6, Episode 10)

“Without darkness there can be no light.”

“Wisdom is born in fools as well as wise men.”

“What is lost is often found.”

Director: Steward Lee Written by: Jonathan Rinzler The peaceful world of Bardotta and its mystic ways are threatened by an ancient prophecy, and its top spiritual leaders have vanished. Queen Julia of Bardotta calls for help from her most trusted friend in the Senate, Jar Jar Binks. Recognizing the importance of Bardotta’s spiritual balance, the Jedi Council sends Mace Windu to accompany Binks and investigate.

Director: Bosco Ng Written by: Jonathan Rinzler Jar Jar Binks’ beloved Queen Julia of the planet Bardotta has been abducted by the bloodthirsty Frangawl cult to fulfill a dark and ancient prophecy. Representative Binks and Jedi Master Windu must find the missing queen before the cult can rise in power.

Director: Brian Kalin O’Connell Written by: Christian Taylor A Jedi mission finds a lightsaber belonging to the long-dead Master Sifo-Dyas, prompting Yoda, Obi-Wan Kenobi and Anakin Skywalker to begin an investigation into his decade-old disappearance. This sparks Darth Sidious to order Darth Tyranus to clean up any loose ends that may lead the Jedi to discover the truth of the Sith conspiracy.

THE LOST MISSIONS CLOVIS SHUFFLE When the production order list was published back in March 2013, there were three episodes— numbers 97 through 99—that out of necessity had abbreviated descriptions. These were the trilogy of episodes that dealt with the rise of Rush Clovis to the head of the Banking Clan. Produced during the Season Four production run, they were originally slated to air in Broadcast Season Five, but a late schedule change pushed them out of the Cartoon Network run. They debuted along with the rest of the Lost Missions episodes, and can now be more fully accounted for on this list.




Production Number: 419 Broadcast Number: 113 (March 7, 2014; Season 6, Episode 5)

Production Number: 420 Broadcast Number: 114 (March 7, 2014; Season 6, Episode 6)

Production Number: 421 Broadcast Number: 115 (March 7, 2014; Season 6, Episode 7)

“To love is to trust. To trust is to believe.”

“Jealousy is the path to chaos.”

“Deceit is the weapon of greed.”

Director: Brian Kalin O’Connell Written by: Christian Taylor While on Scipio to fund a mercy mission, Padmé Amidala is called upon by an old friend, Rush Clovis, to help uncover corruption in the Banking Clan. They must evade the bounty hunter Embo to escape the planet with the incriminating information.

Director: Danny Keller Written by: Christian Taylor Back on Coruscant, Clovis—known traitor of the Republic—makes a dubious deal which puts him at the head of the Banking Clan. Anakin’s increasing distrust and hatred of Clovis strains his relationship with Padmé to breaking point.

Director: Steward Lee Written by: Christian Taylor After making a deal with Count Dooku to resuscitate the ailing Banking Clan, Clovis finds himself as a pawn in Dooku’s designs. Clovis has brought the war to Scipio, forcing the Republic to intervene.


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123: “VOICES”

124: “DESTINY”


Production Number: 519 Broadcast Number: 119 (March 7, 2014; Season 6, Episode 11)

Production Number: 520 Broadcast Number: 120 (March 7, 2014; Season 6, Episode 12)

Production Number: 521 Broadcast Number: 121 (March 7, 2014; Season 6, Episode 13)

“Madness can sometimes be the path to truth.”

“Death is just the beginning.”

“Facing all that you fear will free you from yourself.”

Director: Danny Keller Written by: Christian Taylor Yoda is deeply unsettled when he hears a voice from beyond the grave: the voice of Qui-Gon Jinn. Knowing that it is impossible for a Jedi to retain his identity after death, the Jedi Council begins to worry that Yoda may be corrupted by the influence of the dark side. Determined to find answers, Yoda escapes the Jedi Temple to follow the disembodied voice.

Director: Kyle Dunlevy Written by: Christian Taylor Letting the Force guide him, Yoda voyages into the heart of the galaxy to an ancient world that is one of the wellsprings of the Force and the source of midi-chlorians. Yoda undergoes difficult trials administered by the Five Priestesses, mysterious Force-wielders who hold the secret to immortality.

Guest-starring: Liam Neeson as Qui-Gon Jinn.

Director: Steward Lee Written by: Christian Taylor After many grueling trials, Yoda next travels to the ancient Sith home world of Moraband, where he must face an ancient evil determined to rule the galaxy. Guest-starring: Mark Hamill as Darth Bane and Jaime King as the Priestesses.

Guest-starring: Jaime King as the Priestesses.


MR. BINKS Jonathan Rinzler, author of “The Disappeared” on writing for Star Wars: The Clone Wars…

“In the beautiful conference room of the Main House on Skywalker Ranch, George Lucas told me, ‘Your job is to rehabilitate Jar Jar Binks.’ Amidst the general laughter of the writing group for Season Four, I felt sure this was a kind of hazing (these would be my first scripts for TV). But I also knew George was serious. As it turned out, because he ‘knew where to find me,’ we didn’t get to plotting out my two shows until well after the writing group had dispersed. “Months later, Dave Filoni, George, and I met to hash out what George described as ‘a Temple of Doom’ kind of story. People were disappearing on a mysterious planet and Jar Jar had a love interest: Queen Julia. In the version I was asked to write, the queen was brutally stabbed at the end. Bereft, Jar Jar said, ‘Mesa no longer caren about lighten or darken. Mesa no longer caren about war. Dere issa sumtin stronger than all dat. Mesa haven it with Queenie—issa love.…’ This sentiment was the best I could do to rehabilitate him—but it was much nicer to have her survive, as was later decided. Perhaps one day Jar Jar and Queen Julia will live happily ever after...”

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COUNT DOOKU, ZIRO THE HUTT, AND CAD BANE ARE ALL VOICED BY THE SAME ACTOR It still amazes me that Count Dooku, Ziro the Hutt, and Cad Bane (as well as many background characters) are all voiced by actor Corey Burton. The voices of these villainous Star Wars: The Clone Wars characters—who are among my favorites—all sound entirely different from each other! The talented Burton has had a distinguished career. er. His television work includes the voices of both Toadwort and Gruffy Gummi in The Gummi Bears, Dracula in Marvel’s Avengers vengers Assemble as well as Ultimate Spider-Man, and Captain Hook ok in Jake and the Never Land Pirates! He has voiced minor characters in major Disney animated features, too, including ding Aladdin (1992), The Hunchback of Notre Dame me (1996), and Atl Atlantis: lantis The Lost Empire (2001) lantis: (2001). He even recorded ed a line for rebe rebel el pilot Derek “Hobbie” Klivian in The Empire re Strikes Back!


My favorite scoundrels in the Star Wars universe are the Hutts. s. Their gluttony, completely disloyal self-interest, and twistedlyy dark sense of humor all make them wonderful characters for storytelling. The Clone Wars has given us so many great villains ns and lots of strong female characters, but among the most over-looked in the female category is Gardulla the Hutt. The Hutt Grand Council is controlled by the heads of the five ruling clans: Gorga, Oruba, Arok, Marlo, and Jabba. But it is gambler Jabba’s mbler and slaver Gardulla who governs the council as Jabb a’s ’ the representative, i while hil he h remains i on Tatooine. T i She Sh is i th he h one-time owner of Anakin and Shmi Skywalker, and d a temporary captor of Ziro the Hutt. She’s a sly gangster you should never turn your back on!


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KENNER’S VINTAGE CANTINA ACTION FIGURES ARE ALL NOW CANON... SORT OF! Among Kenner’s earliest Star Wars action figures was a group of five aliens attributed to the Cantina scene in A New Hope. They included “Hammerhead” (since re-named Momaw Nadon), a red “Snaggletooth” (Zutton), a Blue “Snaggletooth” (a rare Sears exclusive), “Walrus Man” (Ponda Baba), and Greedo. Though much loved by fans and collectors, these figures were highly stylized and bore questionable resemblance to their onscreen counterparts. Fortunately for fandom, supervising director Dave Filoni is a fan of these figures as well, and brought them into canon via Clone Wars. We first see a blue-and-orange-suited Walrus Man on the planet Abafar in season

five’s “Missing in Action.” We find a blue Snaggletooth in season five’s “Revival,” and a more loosely inspired red Snaggletooth, named Katt Mol, in season four’s “Padawan Lost.” We first encounter a Kenner version of Hammerhead in the premier of Star Wars Rebels. At the recent Celebration Anaheim, Dave Filoni finally revealed an unfinished scene from Clone Wars that included not only a Kenner-styled Walrus Man and Hammerhead, but also a blue Snaggletooth riding in a speeder with a green jump-suited Rodian who closely resembles the original Greedo action figure.

BOTH B OTH ANAKIN AND LUKE DISOBEY THEIR JEDI MASTERS TO SAVE SOMEONE, BUT THE CHOICES LEAD AD IN OPPOSITE DIRECTIONS In Revenge of the S Sith, Anakin Skywalker tries to save Padm Padmé from dying in childbirth. His cho choice, however, is made out of selfishness, out of fear and greed. He is willing to sacrifi sac ce everyone else around him in order orde to satisfy his own desire. His choice mirrors that of his son, Luke, who later se seeks to save Anakin. In contrast, however, Luke’s sacrifice is selfless. Luke is willing w to die for Anakin (Vader), and even to fail in the process. Not only did Anakin An turn his back on the Jedi teachings teach with his choice, but likewise Luke disregards di the instructions of Obi-Wan and Yoda Y when he refuses to

destroy his father. Though they both h try to save someone close to them, the motivation behind their mirrored choices leadss down two different paths—Anakin to darkness kness and Luke to the light. Luke’s willingness to sacrifice himself imself for Anakin is the key, and awakens in Darth Vader the opportunity to reboot oot his original choice. In his youth, Anakin decided to join Palpatine as the Sith electrocuted the Jedi Mace Windu. But now, as Palpatine grips his Jedi son Luke in the thralls of that same Force Lightning, Vader chooses es self-sacrifice and love.

C-3PO BARES HIS SOUL IN THE PREQUELS C-3PO is the h only l character to appear in all six (soon to be seven) Star Wars films. In Episode I we do actually see beneath C-3PO’s outer casing, but otherwise, Anthony Daniels, the actor who breathed life into the droid, nearly spent his entire Star Wars career hidden behind C-3PO’s golden mask. However, in Episodes II and III Daniels had an opportunity to play Dannl Faytonni, a background character on Coruscant. In both films, we finally see Daniels’ face on screen for the first time. Daniels isn’t the only actor unmasked in the

Star Wars saga. Warwick Davis, who plays Wicket, as well as the Rodian Wald, shows his true face during the podrace in Episode I, as the gambler Weazel. Actor Ray Park, legendary for his role as Darth Maul, also appears toward the end of The Phantom Menace, sans makeup and horns, as a Naboo soldier. Ahmed Best (Jar Jar) appears in the flesh as Achk Med-Beq in Episode II. Finally, Jeremy Bulloch (Boba Fett) appears as pilot Jeremoch Colton in Revenge of the Sith, and Lieutenant Sheckil in The Empire Strikes Back.

MORE TO SAY Star Wars: Absolutely Everything You Need to Know is available now!


Interview by Mark Newbold

Anthony Daniels

Warwick Davis

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Ray Park

Jeremy Bulloch


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ith Lucasfilm’s announcement of at least three new stand-alone d-alone Star Wars movies on the way, speculation eculation among fans has been rampant as to what these new movies will be about and which hich major Star Wars characters they will feature.. Yoda? Boba Fett? Young g Han and Chewie? Obi-Wan Kenobi, the lost years? But, of course, there’s so much Wars uch more to the Star W arss universe than the so-called “major” characters; an and nd now that most of the continuity uity has been erased byy the keepers of the canon, there’s ere’s room to focus a spin-off movie or two on some me of the lesser-known lesser-know wn characters. Why not give them em each their own summer blockbuster movie to shine? Here are a few modest proposals for future films....


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HE WAS FAST, FURIOUS… AND HE BLOWED UP REAL GOOD! Ben Quadinaros’s fiasco at the Boonta Eve Podrace was a throwaway joke in The Phantom Menace, but it becomes the basis for an action-packed hot-rod adventure in this spin-off movie directed by Furious 7’s James Wan and starring Vin Diesel as the ill-starred Ben Q. With his team assembled, Ben wins a slew of preliminary races, falls in love with Watto’s spitfire daughter, Wendy, finally wins pole position at the big race… and then his pod blows up at the starting line.

“We’ve We ve analyzed d their attack, sir, and there is a danger. Should I have your ship standing by?” …MILD WORDS, DELIVERED TOO LATE! Neither spin-off, prequel nor sequel, Simply the Bast is a “same-quel.” It takes place at the exact same ti time as A New Hope. Our hero: stylishly sideburned Imperial General Moradm Moradmin Bast. He’s a good soldier, but he’s got a sixth sense, a nagging intuition, intuition some would call it, “a bad feeling about this.” The “this” he’s got a bad feeling f about? The Death Star. o a detective story-style quest to make sure the Bast spends the film on adver battle station is, as advertised by his old Academy roommate Admiral Motti, “the ultimate power in the universe.” Bast sneaks Mission Impossible-style into Darth Vader’s cubicle of solitude and steals a set of Death Star plans. n Studying the plans, he finally discovers the truth—“There is a danger.” He marches up to Tarkin, tel tells him the bad news… and gets shot down by his boss two minutes before the Death Star is blown to bits.


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JUST WHEN HE THOUGHT HE WAS DONE WITH STAR WARS… THEY PULLED HIM BACK IN! Meet Nien Nunb, Kendall Jenner-lipped co-pilot to Lando Calrissian, hero of the rebellion… and suburban Dad? <NEEDLE SCRATCH!> Set 10 years after Return of the Jedi, this buddy comedy from the team who brought you The Hangover finds Nien Nunb enjoying his happy retirement of mowing the lawn, taking the kids to school and making the occasional personal appearance at Star Wars Celebration. But he knows that something’s not right. He misses “the life.”

WHEN PEOPLE SAY DREAMS DON’T COME TRUE, TELL THEM ABOUT PORKINS It’s the inspiring sports-movie tale of the big rebel that could. Jek Porkins is a young dreamer with big dreams and a bigger waistline, who is blackballed from the Academy because he couldn’t fit through the hatch of an AT-AT. Porkins joins the Rebellion, where he becomes the plucky equipment manager and water boy for the A-Team of Wedge, Biggs, and Puck Naeco. Porkins endears himself to the guys with his grit and optimism, until, on the eve of the Battle of Yavin, Wedge, Biggs, Puck, and the rest of Red Squadron, go to Red Leader’s office, and, in a stirring display of loyalty, toss their orange flight suits on Red Leader’s desk and demand that Porkins be allowed to join them on the Death Star raid…


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that song you do!

A LONG TIME AGO IN A CANTINA FAR, FAR AWAY…. Figrin D’an: A young Bith with a dream and a Kloo Horn, his career and life are going nowhere until—like Lennon meeting McCartney—he crosses paths with another young musical firebrand, Max Rebo. Together, they form the nucleus of one of the most popular bands in the entire Outer Rim—the

Modal Nodes. See how they audition every Jizz-playing Bith in Mos Eisley, Mos Espa, Mos Def, Mos Tavern, and every Mos inbetween as they build a killer band. Eventually, they break up when Max’s girlfriend, conceptual artist Sy Snootles, comes between them. With his best friend and his

creative mojo gone, Figrin D’an stays in the Cantina, hiring a bunch of flunkies and playing the only song that ever mattered to him over and over, while Max and Sy find wealth, happiness, a steady gig, and ultimately their demise in the court of Jabba the Hutt.

Sith-teen Candles MEET THE EMPEROR… OF AWKWARDNESS! Judd Apatow directs this coming-of-age comedy about the excruciatingly embarrassing Freaks And Geeks-style High School years of Palpatine, the gawky nerd who would become Darth Sidious. Christopher “McLovin’” Mintz-Plasse plays the young geek, and Jonah Hill is his best buddy Mas Amedda. At Naboo High, the two nerds try their best to fit in and not make waves, but they are humiliated on prom night (prom theme: “Enchantment Under The Paonga Sea”) when Palpatine rips his best pants on Mas Amedda’s horns. Palpatine is mercilessly mocked by popular jock Sio Bibble (Bradley Cooper), and his cheerleader date Mon Mothma (Isla Fisher).

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Quentin Tarantino directs this multi-part spin-off following the murderous exploits of Dr. Cornelius Evazan—the ugliest man in Mos Eisley. In true Tarantino style, each of the 12 films tells the tale of how Evazan (Christoph Waltz), along with his sidekick Ponda Baba (John Travolta) receives a death sentence in a different system… though not in chronological order.

He’s been mocked… he’s been jeered… he’s been voted, “the most annoying character in the history of film”… and he’s not going to take it anymore. Ahmed Best returns with a vengeance as Jar Jar Binks: Gungan with a gun, in this dark, violent, yet still somehow PG rated spin-off movie from director Abel Ferrara. After making the critical mistake of Googling himself, Jar Jar realizes the crushing futility of his existence and throws himself headlong into a spiral of vice and crime. He gets addicted to “tongue-numbing”—sticking his mouth in between turbine engines just for the plasma energy jolt that takes his pain away. He joins the Naboo Police and lets his basest impulses loose, picking fights and shooting at perps without even so much as an, “exsqueeze me.” In the ultimate abuse of his badge, the Bombad Lieutenant goes on a rampage through downtown Theed, meting out angry justice to anyone who dares laugh at him… which turns out to be everyone.

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A FEW GOOD GAMORREANS JABBA DON’T WANT NO SCRUBS Michael Mann writes and directs this Dirty Dozen-style military action-adventure following the legendary formation of the Gamorrean dream team of Gartogg, Jubnuk, Rogua, and Ortugg, from their days in the Gamorrean Military Academy (or West Pork) to their string of adventures protecting Jabba the Hutt. In their final test before taking their place at Jabba’s Palace, the Teenage Mutant Ninja Porkers do battle with their arch-enemies the Ugnaughts— declaring war on them for the sole reason that people often mistake them for one another.

WUHER & THE GONK FIGHTING CRIME ONE SCUM HIVE AT A TIME Starsky and Hutch, Crockett and Tubbs, Tango and Cash. Add to this list of the greatest buddy-cop-duos the one and only Wuher (Chris Pratt) and the garbage-can-sized droid known only as “The Gonk” (Benicio Del Toro). Years before A New Hope, the unlikely pair of rookie cops are thrown together by former bounty hunter-turned-Coruscant Chief of Detectives Cad Bane (Paul Giamatti). The gruff bartenderto-be and the laconic droid-with-just-legs become fast friends as they run roughshod over Coruscant’s criminal element, trying to bust an inter-terrestrial Death Sticks ring. In a thrilling action climax set in the ruins of the Jedi Temple, Gonk (who is one day away from refurbishment) takes a blaster bolt meant for Wuher. Devastated over the loss of his partner and best friend, Wuher quits the force and takes a bartending job light years away from his old beat. At Chalmun’s, Wuher institutes a strict “no droids” policy… not out of hate, but out of a broken heart.

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MORE TO SAY Michael Price is an Emmy Award-Winning writer on The Simpsons. He has also written the LEGO Star Wars Specials.


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tar Wars Insider: Season Two of Star Wars Rebels has seen Zeb go through a lot. How has that affected his character? Steve Blum: Like any other sentient being, hopefully he’s growing in the process. Personally, it’s opening up my world big time. Getting in touch with the Lasat version of the Force, the Ashla, was particularly enlightening. Like everyone else, I’ve been very curious to learn more about his species. It’s been fascinating to experience Zeb as he begins to let down some of his protective walls. At the same time, we get to witness hidden gifts he has possessed all along. What has it been like for you to expand Zeb’s range? From my perspective, it’s a magnificent ride. I’m a big fan of the franchise and have been since 1977, so to be a part of the evolution of a new character in this universe is incredibly exciting. As an actor, it’s the best thing possible when we get to discover new elements of a character’s personality, history, and hidden talents. We rarely have the luxury of participating in true character development in cartoons. This show embraces every bit of opportunity to fully realize these beings as complete, flawed, wonderful, and believable people. I spend a lot of my time in gratitude!

occasional nuance and smartass remarks, I’m simply the voice monkey following their brilliance and soaking in the glory! Actually, scratch all that. I’m fully responsible for all of his hairless Wookiee magnificence. Nothing to see here...move along. The episode “The Honorable Ones” included a lot of growth for Zeb and Kallus. Do you think Kallus will now pursue a path of redemption? I think it’s bigger than him. He’s definitely had an opportunity for introspection and reevaluation, but the dark side of the Force is powerful. I’d like to believe he’s found a new hope. Time will tell. Wait...Dave... I didn’t say anything! Why is the chip in my neck beeping?

How involved are you in Zeb’s development? I can’t take credit for that at all. [Executive producers] Dave Filoni and Simon Kinberg, [co-executive producer] Henry Gilroy, Carrie Beck, and all of the masterminds at Lucasfilm are responsible for, well, everything! And the seeds that were planted in Season One by [former executive producer] Greg Weisman and company had Zeb’s future fairly well plotted out early on! Other than injecting

Do you have any idea how many times you’ve said “karabast!” Has it become part of your dayto-day life vocabulary? It’s become involuntary at this point. I’m not even aware when it comes out. I suppose it’s better than the expletives I used to spout! That said, it’s awesome. How often does a person get their own new word? Along with Zeb, you’ve also been Imperial officers, stormtroopers, and other rebels. Do you have go-to tonal ranges for different kinds of characters? As much as the Imperials would have us fall into predictable lockstep, every soul is unique, and I try to play them


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that way. Rebels, Rebells, Imperials, other life life if forms: form rm ms: ms they all poop and they the heyy all alll have have ha hav mothers—I think! I tryy giving g each one a life of his own. They deserve that! What has been the highlight of Season Two for you? The expansion of our universe, because we visited places only mentioned before as well as those that were altogether new. I also liked discovering the depth of our characters’ backstories—as invested as we were in the first season, the thickening of the plot has made the story visceral and real for all of us. It’s one of the very few shows I’ve worked on in the past 20 years that keeps me up at night hungry for more. The cast has been recording together for two or three years now. What’s the mood like when you get together in the booth? These people are family to me. It’s a perfect example of precision casting. I literally can’t imagine anyone else in these roles! I miss them when we don’t work every week, and I literally get lost in the story when we record. We prank each other in some way pretty much every session. So far, no rebels have been harmed during the recording of this show. At least, not ...irreparably! And as much as we are family to each other, we often talk about how our extended Star Wars family (you the viewers) will perceive everything we do. It’s an unwavering, unprecedented level of care and respect for the fans and the franchise, and we fully intend to keep delivering the best show we can for a long, long time to come.

MORE TO SAY M Y Follow Steve on Twitter: @blumspew



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t work on the second storyboard book—Star Wars Storyboards: The Original Trilogy—I finally had a good lead on Alex Tavoularis. I’d been meaning to contact him for years, literally, but other work had always interfered. But now, as we were finishing up the design and layout, it felt essential to have his commentary on his boards. I mailed (yes, “mailed”!) the same letter to two addresses—and, thankfully, received an email from Alex a couple of weeks later. He would be happy to be interviewed. First a little background. Most of the scenes Tavoularis storyboarded came from George Lucas’s second draft script, though a few would spill over into the third draft, as the artist responded to Lucas’s descriptions of action. Indeed, thanks to our conversation, Alex sent over six or so scans of storyboards that were not in the archives—four of which show the rescue of Deak Starkiller from the

Alex Tavoularis Drew Struzan

Imperial prison of Alderaan, the only known visualization of that sequence and hitherto unknown. (The scans come from the collection of Charles Lippincott, then vice president of marketing and merchandising for Lucasfilm.) This iteration of the rescue took place between the second and third drafts, when Lucas had changed Luke into a girl (who looks like Leia here). Judging by my own research and what Alex remembers, it would seem that he worked for six weeks or more, during the spring and summer of 1975. As far as I know, this is the first time Alex Tavoularis has ever been interviewed. Parts of this interview are being used as commentary in the book, but Insider is publishing here the full interview.


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Left: Alex Tavoularis’s sketch of Luke-as-Leia and Darth Vader. Leia was used as the model for “female Luke,” when George Lucas changed his lead character to a girl between his second and third drafts. Left, below: Tavalouris and Star Wars poster artist Drew Struzan at a private party, circa 1975.

THE COPPOLA CONNECTION J. W. Rinzler (JWR): How did George Lucas find you? Was it through your brother, Dean Tavoularis, who was working with Francis Ford Coppola? Alex Tavoularis (AT): Yeah. Francis had started American Zoetrope. I don’t know how invested Lucas was in it, but there was that relationship [Lucas was a co-founder and executive vice president]. That was a big building, they had the whole building on Folsom. Francis had started working on The Conversation [1974], and my brother was production designer, so I started working on The Conversation. That was the connection. I remember George talking to Francis right out in front of that Zoetrope building, saying, “I’m going to start this project and I want to get it storyboarded.”

“I ALWAYS KNEW I WANTED TO BE AN ARTIST. MY HEROES WERE MILTON CANIFF, HAL FOSTER AND ALEX RAYMOND.” JWR: So Star Wars was your second film? AT: Well, I worked on Little Big Man (1970). I wasn’t a regular employee like my brother [Dean Tavoularis was production designer], but I did some work on it. So I’d seen a motion picture company working; I’d worked on a set. On The Conversation I was credited as a location coordinator, because in those days that was a nonunion title and I wasn’t in any union.

JWR: What did you actually do? AT: I did do some location scouting, but mostly I helped my brother, as an assistant art director, drawing and designing. JWR: What was your background in art? Did you start as a kid? AT: Oh, yeah. I always knew I wanted to be an artist. My heroes then were Milton


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Caniff and his Terry and the Pirates. I liked the styles of Hal Foster, who did Prince Valiant, and Alex Raymond, who did Flash Gordon. When I got out of high school, I wanted to go into architecture. So I went to a trade school in downtown LA and took drafting classes. In those days, in high school, you got a great education, and I had already taken some drafting classes, even in junior high. At the trade school I really learned architecture. I was always drawing and painting, but I think figuring out the BTUs [British Thermal Units] to determine the size of a heating and cooling system for a building in the summer as opposed to the winter was the kind of thing I didn’t want to do— so I switched to illustration. I then went to the Art Center, College of Design. It’s a pretty famous school. It’s in Pasadena now, but in those days it was just west of downtown. All the art schools were there. JWR: Were you a sci-fi fan? AT: I don’t think I was ever a fan, but I admired the artwork produced by many artists that had worked in that genre. One of my favorites was Virgil Finlay. There were others. JWR: Did you grow up in LA? AT: Yeah. My brother, Dean, got into Disney—he got a job doing in-betweening [generating intermediate frames between two key frame images to give the appearance that the first image evolves smoothly into the second image—Ed],

Clockwise, from top: A particularly fierce take on Darth Vader; on location shooting The Godfather: Part II in Tahoe, circa 1973. Tavalouris is flanked by Mona Houghton (daughter of Buck Houghton, producer of the Twilight Zone TV series) and screenwriter Melissa Mathison; the opening shot that would change everything; the droids begin their journey acrross Tatooine; stormtroopers in the midst of battle.


back then when everything was hand done. Then he went into live-action and he became an art director and a production designer. That’s when I came in and worked with him on a small level. It was a long time ago. JWR: Do you remember how Dean met Coppola? AT: No. All I remember is that I was working for this company that would make

landscapes and seascapes for sale and hearing that Dean had got a job working for this new director on a gangster movie—I didn’t even know about The Godfather [1972]. To be honest I was very inexperienced. George was a filmmaker and I was just an illustrator and a painter, with very little movie experience. I didn’t understand the idea of continuity and angles, and that sort of thing. So I went in there as an artist


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who really didn’t have storyboard experience. JWR: Did George explain to you how storyboards work? AT: No, he didn’t have to. I think he was specific in his thinking, so he would see a sequence and think, That’s how I’m going to film that. He’d work from some idea. Like where the robots get stuck under some kind of electronic console. There were certain things—you know, where the guy gets his arm ripped off—that was in the Starkiller script [second draft], but that didn’t end up in the movie. JWR: Did he give you a copy of the script and say, “Storyboard this part?” AT: George would go over a sequence with me and he was always specific. I worked with Francis Coppola, too, and he was specific, but there was something different in the way George was. We would have meetings and I would draw. JWR: Where did you work at that time? AT: George had this place in San Anselmo. He had just fixed it up from the money he had made on American Graffiti. He built a theatre and some offices [at Park Way house], so I just started working there. The only artist prior to me was Ralph McQuarrie. So it was George who I would see every day, and Gary Kurtz. After a while I started working at

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home, and then I would come in every other day or every three days. I was doing all this work with charcoal pencil and I would come in and show them to him that way. JWR: Had you seen American Graffiti? AT: Yes and I thought it was great. I still remember most of it, because it rang true with my recollections of high school just before graduation, as it did with many others in my generation. JWR: Colin Cantwell had done a few prototype models, too. If you look at your Star Destroyer, I think that’s based on his model. AT: Oh, sure, I must have forgot. Yeah, that stuff was all pre-designed. If you look at See-Threepio and my renditions of him, I made him kind of like Metropolis, kind of Art Deco, though he changed throughout my boards. I can’t remember if I did that at George’s behest, but maybe he said we could see if we could come up with some other looks. It was a good thing they didn’t use my ideas on that one! JWR: I’ve had the good fortune to hold your beautiful original drawings in my hands in the archives. AT: That’s nice of you to say that. I remember George saying, “Well, we’re gonna keep these.” Some people don’t care about that, but George was farsighted, I guess, and kept the drawings.

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JWR: You said that George was kind of different from Francis. How would you describe that difference? AT: Well, George was methodical, that’s the way I remember him. I can’t say anything better than that. He was a clear thinker and a logical thinker. I think Francis was as well, but his expression was more emotional. Maybe in artistic intent they were very similar, but in the way they expressed themselves, they were different. JWR: You were the first to storyboard one of the most famous shots in the history of cinema: the Star Destroyer coming in over the audience’s head, chasing the rebel ship. Do you remember George talking to you about that shot? AT: Yeah, over the top of the frame. That was pretty spectacular. I didn’t board that as well as I could have. I should have had a shot in-between that, where you see the underneath of the ship, where you really get the feeling of this giant thing coming into the frame. I boarded it that way, but I don’t think I got the drama. And how the lettering goes… George was inspired by the old Flash Gordon serials. A lot of the stuff I did was after Ralph McQuarrie’s work. Like, there was one shot of the Death Star, an over-the-shoulder shot looking out of a cockpit. People ask me about that a lot, and basically I just took that from Ralph McQuarrie. There was the influence of World War II movies, too. Do you remember Wing and a

Prayer [1944]? You have this thing where the Japanese plane would kill a beloved character and then the other Americans would come in and avenge his death. You know, those simple theatrical emotions. I think that had been very unpopular for a very long time in American filmmaking [in the 1960s and early 1970s] and people wanted it, and George is the one who brought it back. I also remember him telling me that when we see movies, like Forbidden Planet (1956), we see modernism and it’s always pristine and clean. But eventually, even if it’s built a thousand years from now, it’s gonna wear out. That’s the kind of thing people forget. Star Wars has been copied a million times, but it was the first to do that [create a used universe]. And having the bad guys in white—that was really groundbreaking. JWR: Do you remember George talking to you about Darth Vader? Because when you drew him, when he comes in, he does this thing that wasn’t in the movies—where he kind of shouts or laughs, and the shout scatters the troopers on both sides. AT: I don’t specifically remember that, but I remember thinking that Darth Vader should be scarier-looking than what they actually came up with in the movie. I was probably wrong about that. George wanted

that shot where Vader comes through the door, real dramatic, using this point-of-view that makes him seem omnipotent. So what you do is you go low on the camera angle and wide, not too wide, but wide enough to distort it a little bit. JWR: How long did you work on Star Wars? AT: Not very long. I think about six weeks. George had given me an idea of how long he would employ me. At the end of the term, I was thinking, I need to get some work lined up. And Dean said we could go to the Philippines and work on Apocalypse Now [1979]. So I said, “Sure, George is gonna let me go,” and I made the deal and I told George. But he said, “Oh, too bad, because I think I would have kept you longer.” And the funny thing was, if I had known that, I wouldn’t have gone to the Philippines, because my wife was pregnant. It did double my salary though! I wasn’t getting much from George.


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JWR: At that time, George was paying for everything out of his pocket because the studio wasn’t paying for much—if any— preproduction. AT: I think I knew that. I mean, I was happy to have that job. It was great; it was fun. JWR: After you left for Apocalypse Now, Joe Johnston came on, with others, to do the bulk of the storyboarding. Did you ever meet them? AT: I never met Joe, but I admired his kind of drawing very much: It’s to the point, and basic, what storyboards should really be, more than what I did. You don’t need drama in storyboards; they’re for the director, they’re not comic books. If I was a director I would rather have storyboards like Joe

Johnston’s rather than ones like mine. [Laughs] I was pretty fast, though. JWR: How fast? AT: I could do those frames in… I mean, not as fast as Joe Johnston! That’s for sure. You can’t be, right? The other thing, it’s not just about drawing, it’s posing and thinking of what the next frame should be, but I think I did about four panels a day. JWR: Do you remember any previews or seeing any early edits of Star Wars? AT: Yeah, I remember there was a screening in San Francisco and these kind of dourlooking people; there were people who didn’t like it. George had a party at a house, with

Clockwise, from top, left: Vader rips the arm off of a defeated rebel (a violent scene that wouldn’t make it to the final draft); the droids; a Y-wing prepares for takeoff in a newly discovered board; Deak Starkiller is rescued from Alderaan by Chewbacca and Luke-as-a girl, with Han Solo in stormtrooper disguise--in another newly discovered board.

Marcia [Lucas], and he had a dog named Indy. It was a party George threw for the people who were locally available that had worked on Star Wars, so I came with my wife. There were a lot of people, so we didn’t talk much, but I remember him saying something like, “Finishing this movie was like dragging a dead elephant across a football field.” And I thought, Well… God! That really hit me. Later I noticed that he wasn’t directing so much anymore. And that in reality he wanted to direct from behind a desk—he didn’t want to deal with all the baloney. JWR: He didn’t want to do that again. He told me it nearly killed him. AT: But you know, he certainly was able to express his creative ideas without directing. So he can have someone direct for him. When Star Wars came out, I was just back from working on Apocalypse Now and it was huge. I remember looking around and—I just didn’t expect that! a

EXPANDED The most recent movie Alex Tavoularis worked on was The Forger (2012), with Lauren Bacall and Alfred Molina. Be sure to check out Star Wars Storyboards: The Prequel Trilogy, on sale now, and Star Wars Storyboards: The Original Trilogy, on shelves May 2014!



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Without a doubt, 2017 has been an exciting year for fans of Star Wars, from the release of Rogue One: A Star Wars Story to the introduction of Forces of Destiny (a new initiative of bite-sized, animated content) to the steady stream of comics and books that fed our imagination. Take our quiz of the year to find out just how much you really know!

5 and 6. Identify the classifications of following Imperial troopers: 5.


ROGUE ONE: A STAR WARS STORY 1. Which character from Star Wars Rebels makes a brief appearance in Rogue One? 2. Sisters Beau and Dolly Gadsdon played which character in the film? 3. Which character’s middle name is Callan?

7. Which character’s first name means “awakening”?

9. Which character (nearly) says,“I’ve got a bad feeling about this?”

4. Which planet’s name originated from a misspelling on director Gareth Edwards’ disposable coffee cup?

8. True or false: This is the first Star Wars movie where the title of the movie is spoken by a character.

10. Rebel pilot Pedrin Gaul is killed during the Battle of Scarif. What is his call sign?

Answers - 1. Chopper 2. Jyn Erso 3. Orson Krennic 4. Scarif 5. Death troopers 6. Shoretroopers 7. Bodhi Rook 8. True 9. K-2SO 10. Red 5 11. Lars Mikkelsen 12. Wedge Antilles 13. Genevieve O’Reilly (as Mon Mothma) 14. Obi-Wan Kenobi and Darth Maul 15. AP-5 16. Phasma 17. Christie Golden 18. Thrawn 19. Guardians of the Whills 20. Milo and Lina Graf 21. “Screaming Citadel “ 22. Jody Houser 23. “The Enormous Profit” 24. Darth Vader 25. Yoda 26. Maz Kanata 27. Princess Leia and Sabine Wren 28. Force Friday II 29. The Jedi 30. Because the comic is called “The Last Jedi”


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COMIC BOOK 21. What was the name of the 2017 Marvel Comics Star Wars crossover event?


22. Who wrote the comic book adaptation of Rogue One? 23. What was the title of the third volume of the Doctor Aphra series?

11. Who voices Thrawn hrawn in Season Three of Star Wars Rebels elss?

24. Which character got his own series, again?

12. Which famed rebel pilot made his animated imated debut this season? n? 13. Which cast member ember of Rogue One made de a guest appearancee in the episode “Secret Cargo”? 14. Which two oldd enemies fight for the last time in the episode pisode entitled,“Twin Suns”? ns”? 15. Name this character: aracter:

25. Which character engaged in a “Secret War” when they were the focus of issue 39?



16. In which novel do we first meet the character Vi Moradi?

26. Which character narrates Star Wars: Forces of Destiny?

17. Who wrote the Battlefront II novel, Inferno Squad?

27. Which two characters, are united in the Forces of Destiny episode “Bounty of Trouble ”?

18. Which novel, published in 2017, will be getting a comic-book adaptation in 2018? 19. What was the name of Greg Rucka’s novel featuring Chirrut Îmwe and Baze Malbus? 20. In the Adventures in Wild Space series, what are the names of the brother and sister whose journey we follow over the course of the books?

28. What event on the Star Wars calendar took place on September 1st? 29. According to the teaser trailer for The Last Jedi, what does Luke Skywalker think it’s time to end? 30. Why has Mark Hamill jokingly advised fans to avoid Star Wars #49, a comic book first published in 1981?

HOW DID YOU SCORE? 21 – 30 Jedi Master: We suspect you might be the Chosen One. 11 -20 Jedi Knight: The Force is strong with you. 0 – 10 Padawan: You have much to learn.


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tar Wars Insider: Kathleen, you go a long way back with George Lucas— over 30 years. How did you first meet? Kathleen Kennedy: I started working with Steven Spielberg in 1978, and asked to be a part of Raiders of the Lost Ark in 1980. I met George Lucas at that time because he was working on the movie with Steven Spielberg. I also met my husband, Frank Marshall, so it proved to be a pretty exciting period of time in my life. But, George was incredibly memorable, obviously, because I was in college when I saw Star Wars. So, to meet George at that point, coming off the huge success of Star Wars, was very exciting. Bryan, how long have you known J.J. Abrams? Bryan Burk: I’ve known J.J. Abrams for years, but we actually first started working together in 2001 on the TV series Alias for ABC. Ever since then, we have worked on numerous projects and started Bad Robot together. We did the TV shows Lost, Fringe, and currently Person of Interest. On the movie

side, we did the Star Trek reboot, as well as Cloverfield and Super 8. We also make the Mission: Impossible franchise with Tom Cruise. Kathleen, what was it like working on Raiders of the Lost Ark? Kathleen Kennedy: We started Raiders in 1980 and then went on to do three movies together. We all stayed very close friends in that process, because, obviously Steven and George were already very close. So, our working relationship extended beyond Raiders and into Star Wars. In fact, when we were casting Raiders, George had just come out with The Empire Strikes Back, and we kept thinking to ourselves that Harrison Ford would be perfect as Indiana Jones, but we couldn’t cast him because he’s Han Solo. So, we all walked in to see The Empire Strikes Back together and we walked out of the theater and agreed that he did need to be Indiana Jones. It’s pretty amazing to think Harrison has developed a character as beloved as Han Solo and at the same time created Indiana Jones.


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Whose idea was it to make the new Star Wars films? George Lucas and I sat down right when I came to the company, and we started talking about what VII, VIII, and IX might be. Obviously, George had given this a lot of thought beforehand. He had created the first six films, and it’s something that had evolved over his entire life. So, he had strong feelings about where those stories would go, and he had created the world in which those stories could be told. But I have to hand it to our writers, Michael Arndt, J.J. Abrams, and Lawrence Kasdan, because they really took everything that George gave us and worked it, and took it to the level that we’ve made the movie. I think they found a very exciting story that honors all those things that George so meticulously created. Did you have any reservations about bringing the franchise back? I think what’s been thrilling about this experience is that every person who has come to the project has been a huge Star Wars fan. So, that’s anybody who grew up with Star Wars, like J.J. Abrams and many of the contemporaries that he’s worked with on the film. Anybody who was post-high school, college age, like me, were still bringing a sense of nostalgia. Then, there were younger people. Some of the people that I was working with on this film never saw the original Star Wars in the theater. So, it’s this crossgenerational group of people who are bringing all those sensibilities to the making of this movie. That’s what is so incredibly exciting. It makes you feel like you’re in this with so many people who genuinely care about it, that it’s all going to be okay. The fans are sitting out there wondering what we’re going to do with it, and everybody inside the process is a fan. So, you’ve extended out to this community that is becoming a part of making the movie. So, even though there’s no guarantee, and there’s stress and expectation, I think it’s something genuinely we feel that we’re in together. It’s nice to be involved in a movie that everyone cares so much about. It’s not just that they care because they’re a fan, but it had something to do with their life. It’s something they’ve drawn from. It’s the reason they got into the movie business. That, to me, just means it will show up on the screen one way or another. How did you first meet J.J. Abrams? I was working with Steven Spielberg early in my career. This goes back 30 years ago. There were two boys written up in the LA Times who had won a video contest. I told Steven we should hire these two kids and they could clean up his student films and transfer them to video tape. He agreed,

“I THINK THE WRITERS FOUND A VERY EXCITING STORY THAT HONORS ALL THOSE THINGS GEORGE LUCAS CREATED.”—KATHLEEN KENNEDY and we hired them. The two 16-year-old boys who walked into the office were J.J. Abrams and Matt Reeves. Matt has gone on to be a big director/producer. And J.J., I have to say from the moment we met him, it was very clear he was going to have quite a career in the movie business. It’s strange to meet someone at that point in their life and then have that person play such an important role, not only in my life, but in their life and in this whole world of Star Wars. He never dreamed at 16 that he’d be directing a Star Wars movie. I certainly never dreamed that I’d be producing a Star Wars movie, or running

Lucasfilm. It’s interesting to think about those moments in your life when there’s a collision that happens, and you don’t know what the outcome may be. This is one of a shared experience. It’s nice to be at this point where I can work with J.J. and know him as a fully-formed creative director. There really aren’t photos of them back then, because none of us really took note of it. Steven and J.J. ended up working on Super 8, but it all started when we hired them to transfer these films! How did you get J.J. Abrams to agree to direct?


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having just worked on the Star Trek films, really didn’t feel like a conflict at all. Other than having one word shared in their titles, they’re completely different films and even genres. Star Trek is obviously much more of a science-fiction film and Star Wars feels much more fantasy. But the similarities are so far and vast that I don’t think, when people see the movie, that they will see any similarity between them. We love them separately and equally. Kathleen, why were you convinced J.J. Abrams was the man for the job? Kathleen Kennedy: J.J. was certainly one of my first choices. I think Star Wars has this unique sensibility; this combination of adventure and fantasy and humor. I think there are very few directors who embody all of those sensibilities as an artist. J.J. is one of the few. He was one of the first people I thought of when we were discussing it. Why was it important to get Lawrence Kasdan to co-write? I knew Larry during Raiders of the Lost Ark. He is one of the icons of the Star Wars series. His sensibility inside these movies is unique. Larry brings to it a sense of humor, but there’s an irony in the humor. It’s an emotional depth in the humor. He understands characters, and understands that banter. He’s a real film noir buff and looks back at that fast-talking, 1930s style of dialogue. He infuses that in a very modern way in Star Wars.


ON KATHLEEN KENNEDY I had never talked to J.J. personally about Star Wars. I thought that once I got in a room and had a chance to walk through what bringing back the movies to a new generation would mean, that it would resonate with him in a different way. Rather than, “Would you take a beloved franchise and bring it back?” That was something that J.J. did with Star Trek, and I knew that wouldn’t be something that would be appealing to him. With this, I knew it was something that was personal to him, so we talked about what it meant to him. What it meant to me. What he could do with it. Bryan, how did you hear that Lucasfilm would be making new Star Wars? Bryan Burk: When we first found out about it, we, like everybody, read that Lucasfilm was going to Disney and that Kathy Kennedy was going to be heading up the company and that there were going to be new Star Wars films, so we were over

Why did you come back to shoot at Pinewood Studios? In large part, this is the home of Star Wars. All six of the previous films were made in England. I think returning to the UK and setting up at Pinewood, and working with these crews, and generations of people who go back to the early days of Star Wars brings a sensibility to the process that’s pretty great. It’s nice to have it all back here.

“The first time I met her, we were talking about role models, and she seemed really approachable. It wasn’t until after that meeting that I found out how many films she’d worked on. We were talking to her the other day, John Boyega and I, and she was just laughing. She’s incredibly powerful and incredibly smart. She’s a mother. She’s caring. She’s kind. She’s there every day. She’s not this scary person who runs the show. She’s someone who’s there as support, making sure we’re happy. She’s an incredible woman.“

the moon just purely as fans. We were excited. The idea of our getting involved was not something we were even thinking about at the time. I first heard about it when J.J. was contacted by Kathy and he said that she was interested in meeting with him and talking to him about the project. It still felt like an impossibility and something that other people would do, but we would be the first people in line to see that movie. The fact that it actually came to fruition and we’re involved in it is still amazing. To be honest, for us, the idea of taking on Star Wars,

There are a lot of crew-members whose families worked on the films. How does that make you feel? We used to laugh because George had talked about how long they’d been making Star Wars. The people he had hired had


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gotten married, had kids and those kids were now working on Star Wars. You do get a sense of ownership, working on the movie. How important was it to keep the practical look of the first movies? J.J. and I talked right away about real creatures and real sets. It’s just a grounded sensibility that goes back to the first three movies. I’ve always had a feeling inside the world of special effects where it’s so important to give the audience what’s familiar. You want to ground it in what’s familiar and these movies operate in a grounded way, even though the stories take place in outer space. That was important to J.J., too. What he loved more than anything, and I love, were the tactile sensibilities inside the first three movies. All of the design began with that premise. We sat down and immediately talked about what we could build for real, where could we shoot real locations and how much of the movie we could design in that way. It’s pretty remarkable that we designed the majority of the film with that kind of thinking. I don’t think we thought initially that we could do that, but the work that Neal Scanlan and his team have done and the artists we’ve been able to bring into the process just pushed it and pushed it. The technology inside that tactile world has improved to the same extent that the CG world has improved. It’s been very rewarding to see what people can bring in front of the camera and to be able to look at raw footage. It seems like such a new and modern conceit to be sitting in dailies and looking at real things, instead of blue screen waiting for things to come months later. For the cast to be able to act in an environment where they’ve got real

creatures, and sets that they can touch and interact with makes a difference. It immediately feels real. Bryan, how did you insure that the film feels relevant? Bryan Burk: The process of putting together the Star Wars film for us was a very natural and easy process. Particularly in the beginning, because, as fans of Star Wars, we just started talking about all the things that we love. All of us involved were able to articulate what we remembered from our childhood and what we loved when we went to the theater for the first

BRYAN BURK ON KATHLEEN KENNEDY “When I graduated from college, I wasn’t sure what I wanted to do with my career, so I made a list of all the people that I admired whom I would want to work for. The first person on that list was Kathy Kennedy. The fact that I’m now working with her is a blessing—the best gift I can get.”

time and what we experienced. If we were to see another Star Wars film, what is it that we’d want to experience again? Really the whole process was just discussing things that we love in Star Wars and would want to see in the Star Wars sequels if we weren’t working on it. Kathleen, you championed Adam Driver’s casting. Why was he so right for Kylo Ren? Kathleen Kennedy: I had the good fortune

of working with Adam Driver on Lincoln. That was my first introduction. The minute we started to realize this character of Kylo Ren, it just seemed obvious to me that he was one of those rare actors that could embody that character. J.J. didn’t know him as well as I did, but the minute he met him, he instantly responded. He was one of the first people we identified, and quickly decided on. One of the most interesting things about Kylo Ren is that he’s young. So often, villains in stories are damaged, troubled, older characters. To bring a character into Star Wars as a villain who’s only 30-years-old is interesting. It takes advantage of a troubled teenage life and a back-story that we don’t know much about. We recognize this tension between dark and light, which is prevalent in Star Wars. We can use it as a metaphor for the path from young adulthood to being an adult. Anybody is capable of having interest in the dark side, and that tension of being drawn into something that is somewhat dangerous is relatable. For audiences today, that’s a new and exciting and appealing character. When we look at our own lives, it’s about the choices we make. This is a character that has made a lot of bad choices but not necessarily in the world of Star Wars, because that can go in any direction. This story is a mirror on the world. A lot of kids are experiencing a very troubled landscape politically and a lot of things are happening that suggest that people are being drawn in by danger, turmoil, and unrest. A lot of change seems to be going on politically in terms of world order. Star Wars has uniquely mirrored that in the political structure of the stories. Kylo Ren represents that dark side of society that we can be drawn to, not knowing whose side to be on and not


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having a clear-cut idea of what’s good or bad. All this makes for a very complex character in Kylo Ren and gives us a lot of opportunity for where we can go with the character. The cast is very diverse. Was that a conscious decision? J.J. and I said right away that when we cast this movie, we would make it more diverse than the way you perceive Star Wars was made in the 1970s. We wanted to make it more reflective of society today. That ethnic mix, of course, would exist in outer space, just as it does here on Earth. We very much wanted that to be a part of a story. How did you go about persuading the original cast to return? George sat down with Carrie and Mark, because we had made the decision right around Celebration two years ago, in Orlando. Harrison was not there, so both George and I went to Harrison after that. He told them what the plans were. I think everybody was incredibly excited. There had been talk that there would be more movies. As much as it was a surprise, I don’t think it was a shock. They knew there was always the chance there would be more movies. rom the start? Were they on board fro from rom the get-go. Everybody was keen ffrom Everybody was keen to know what we were doing. They wanted nted to know who was directing and the direction of the story, but they were all excited. ted.

“THE WHOLE PROCESS WAS JUST DISCUSSING THINGS THAT WE WOULD WANT TO SEE IF WE WEREN’T WORKING ON IT.”—BRYAN BURK It was literally a journey through my entire childhood. Seeing all of the props and costumes and artwork from some of my favorite movies growing up was amazing. It obviously includes all of the Star Wars films and all the different costumes; even the original Chewbacca outfit was still there, but slowly deteriorating. There was also the Ark of the Covenant from Raiders of the Lost Ark and all the whips from the different Indiana Jones movies, and even stuff from Willow. There were so many amazing things to look at in every corner and at every turn; it’s just this bombardment of inspiration. When George Lucas opens up his museum with all of his artwork and all of his memorabilia from his different movies, I think people are going to lose their minds. How did you choose the heads o the departments? of A lot of the department heads existed bef before efore we even got involved. Rick Carter,

the production designer, who is a genius, worked with Kathleen Kennedy for years on numerous movies before. He was like no production designer I’d ever worked with, in the sense that for him it wasn’t just about the look of the movie, it was about the feel of the movie and the tone of the movie. We really just started talking about story with Rick, who was involved in all the story meetings throughout the entire process. He understood the franchise and the film itself—what we wanted it to be, and what Kathy wanted it to be. We had worked with costume designer Michael Kaplan before; J.J. first worked with him on Mission: Impossible III, and then we worked with him on both of the Star Trek films as well as Ghost Protocol. We’ve been fans of Michael’s forever. He began his career with Blade Runner and eight gazillion movies since then. So, the opportunity to work with him yet again, let alone in something as iconic and personal ersonal for all of us, was unde undeniable. Dan Mindel, director of photog photography, photograph hy, and hiss ccamera department, has been

Bryan, how did you begin the process of making the movie? Bryan Burk: We started ted with research. Research was an interesting eresting process for this film. First of all, because it’s Star Wars, there are numerous erous people out in the world who are die-hard e-hard fans and a lot of them happen to be e our friends. So we could have conversations tions with them and they knew about the lore and what was missing, or what had been heard to be lost in the archives orr whatever it maybe. So, to have the opportunity rtunity to go up to George Lucas’s ranch h and to go to the archives to see all this is amazing artwork done by all of these amazing artists was incredible. So much of Ralph McQuarrie’s workwas never used,, so we put it in this film. Why not? It’s gorgeous rgeous and totally timeless. On top of it,, meeting people like Pablo Hidalgo at Lucasfi asfilm who are beyond experts on the he world of Star Wars, and know everything about it, from the Legends universe to all the films, was an invaluable aid in making this film. Visiting George Lucas’ s’ archives was unlike anything I’ve ever seen before.


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someone that J.J. has been working with for years. He started with him on Mission: Impossible III and we worked with him on the Star Trek films. Not only does Dan Mindel have such a beautiful eye when he’s looking at things, but his entire team is a pleasure to work with. They are constantly bringing new ideas to the table, finding new ways to shoot things and constantly inventing things that we’ve never seen before on film. Neal Scanlan, who is a special effects artist, was another brilliant person that Kathleen brought on. There are not a lot of people who are making puppets today, let alone creatures, and let alone tangible ones. It’s a craft that I’d never seen first-hand until I had the opportunity to work with Neal and his team. I’m hoping if nothing less, after the Star Wars films, that many other films will start embracing the long-lost craft of creating creatures and tangible co-stars. Was it a conscious decision to carry on the tradition of using unknowns? Whenever we do any film or TV, we often look at whether or not the project would be great with recognizable actors or would it possibly be better with less recognizable actors. Sometimes it feels like you want to bring on new people or find unknown actors so that you can go into the world a little easier and not have to undo what your brain is saying. It’s like,

who didn’t have an agent. It opened up the floodgates of talent. A lot of people came through and there are some amazing people out there. Not all of them made it into the film, but it was a great experience to be able to see so many different people who were so touched by Star Wars. Kathleen, how have you made Star Wars deliver on so many levels? Kathleen Kennedy: The interesting thing is, when you look at Star Wars, it does deliver on different levels. I think all of us were quite amazed when we started to pick it apart and discovered what incredibly good storytelling it was. How simple it was and how spare it was. And how much fun. It made us appreciate what we all have to do. We needed to understand what worked and why it resonated with so many people on so many levels. When you do a movie like this, you have to take it seriously. You can’t treat it like lightweight storytelling. Everything George did was serious. It drew upon tried and true mythology, a basis of all religious thought, family values and key values around aspiration. What does it mean to make people feel like they can do anything? If they live their life well, they can achieve greatness. Those are the values and ideas inherent in Star Wars. You don’t want to make that

“I LOVE TO SNEAK IN THE BACK OF CINEMAS TO SEE THE AUDIENCE’S REACTIONS!” —KATHLEEN KENNEDY “Oh, there’s Clint Eastwood playing a rock star.” In this case, when we started the casting process for Star Wars, we did think that we wanted to find some new actors and some fresh new faces that we could put into the Star Wars universe. Obviously, it worked spectacularly for George in the original films. So, in this case, we decided to continue that. When we started the casting process, our casting directors, April Webster, Alyssa Weisberg and Nina Gold were scouring all the different agencies and trying to find that needle in a haystack for those young actors for this film that we knew were out there, but we just didn’t know who they were. Somewhere in the process, we realized if we had an open casting call, we would have an opportunity to see people who wouldn’t normally have the opportunity to audition for Star Wars or

pedantic and pretentious, so you need to find a way to preserve those values and make it fun and have it be an adventure. That’s what we spent our focus on—isolating all these elements inside the Star Wars mythology and doing the best job we could to emulate what George had created. Have you ever snuck into the back of a cinema to see an audiences reaction? Yes, I love to do that. I have quite a bit of anonymity, so I can go in the back of the cinema and watch the audience react. I just want people to scream and yell at the screen and have a great time. All you can hope for is to go back to those feelings of going to movies when you felt like you were at a rock concert. That was the best. a


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Harrison Ellenshaw stands in front of the iconic Cloud City air shaft painting as seen in the climax to The Empire Strikes Back.

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Ralph McQuarrie muses over his designs in his studio.

Above: Adding detail to the matte of Slave I on the Cloud City landing platform from The Empire Strikes Back. Above, opposite page: The complete Slave I matte painting, ready to be combined with the live-action footage. Right: Ellenshaw, producer Howard Kazanjian, and vfx supervisor Richard Edlund speak with visiting legendary director Michael Powell during the making of Empire.

tar Wars Insider: How did you first become involved with Star Wars ? Harrison Ellenshaw: The first I heard of it was when I was working with Disney as the head of the matte department. I had done some matte shots on The Man Who Fell To Earth in 1976—that was the first time the Disney matte department had done work outside of Disney’s films. Later, in early ’76, [ILM manager] Jim Nelson called me and said, “I understand the matte department does matte shots and work outside of Disney.” He told me a little about the film he’d been working on and came over to visit. He brought with him copies of Ralph McQuarrie’s initial production illustrations, which was the thing that got me excited right away. He said, “Well, this is great, but we need some matte for Star Wars, and we don’t exactly know how we’re going to put this together.” I told him I’d be interested—and that was the last I heard of it for a long time. Later I heard news that they were shooting and I thought they’d worked out what they were going to do with somebody else. Then, many months later, after they finished production, Jim called me again and said, “Are you ready to come over and take a look at the plates [frames of footage that need a matte painting]?” Before this I had never been handed cans of film and told, “Here, put your painting on this.”



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So was having a front projection system a big change when you moved to ILM’s new headquarters in Marin County for The Empire Strikes Back? Front projection was something that I had talked about after Star Wars, and when I went up north [to Marin County], it was definitely something that we wanted to have. We were very anxious to give this a try. It proved to be everything we thought it would—much faster and more efficient.


We do it that way more often than not these days, but we had never done it at Disney then. Anyway, I went out to ILM to take a look at what had been shot, and it all looked fairly promising. Then the matte department had to move. Everybody was tight on space, so the only place we could go was a little space upstairs! I was also working on the film Pete’s Dragon at Disney at the time, which I was very involved with. I’d said to management, “I’d like to do this film [Star Wars]… it looks like 10 or 15 shots and I’ll do them at night, I’ll moonlight,” which they said was fine. You used a bipack camera to shoot the matte effects. What were the benefits of that? Bicapping is a very viable method. It’s really handy and is like having a single-hand optical printer. You have a number of things: it maintains a very high quality and it’s relatively quick and easy to use, so it was ideal for us. We still had the normal problems of putting something together from scratch though, and upstairs in the matte room was crazy. But we struggled through! You didn’t have a projector at the first ILM facility did you? No, we didn’t have a rear projector or front projector.

What was the atmosphere like at the first ILM? It was very strange. There was a tremendous amount of enthusiasm. As I recall, there was a lot of blue spill on everything [where light coming from the bluescreen washes across the foreground image], so they set up this large area where people could go in and hand-paint out the blue spill frame by frame. They got a lot of guys out of CalArts [California Institute of the Arts] to do this, and they were thrilled. They thought it was great, but I don’t think it paid very much. In most cases, the people had never really had that kind of job before. So that kind of enthusiasm was a lot of fun. I was 31 or 32 years old, and I was an old man there! There were a few older people, but most were in their early 20s. I can recall because I was there at night, and you got the real dedicated crew there at night. Another thing I remember is the first time I showed some completed matte shots in the projection room at ILM. Everyone was anxious to see what I had done and the room was full. There was a shot of the Millennium Falcon inside the Death Star. It came up on the screen and everyone laughed. I thought, “Oh my God, I’ve failed! They’re laughing at my stuff!” I just wanted to climb into a hole. But what I’d done was to put the cockpit on both sides, to make the ship symmetrical. It made sense to me for the ship to be symmetrical. I was working from the storyboard panels because I never saw actual footage. The miniature which George used was locked away at night, and of course, I came in at night. I had no idea [what the Millennium Falcon looked like in detail], and that was always a frustration. From Star Wars through to Empire, George was very secretive about footage. The first footage I saw of Star Wars was an editorial reel without sound from the middle of the film. It was very late at night at ILM and just a few of us gathered around the Moviola to take a look. The scene was Luke and Han rescuing Princess Leia from the detention cell on the Death Star. No one was terribly impressed. Coming right in, not knowing anything about the story, Han Solo seemed like a real jerk, just swaggering around. So there were opportunities to see footage, but nobody had any idea [of what the finished film


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Right: The Massassi Temple exterior, ready for the live-action to be added. Far right: Ellenshaw creating the matte painting that became the rebel base exterior. Below, right: Ellenshaw is joined by matte painting department colleagues Ralph McQuarrie and Michael Pangrazio to film walk-on cameos for The Empire Strikes Back.

would look like]. Everyone thought it would just be a nice “B” movie. How many matte paintings were there in the first Star Wars film? There were 17 matte paintings and we used a number of them twice for more than one shot. Seventeen really wasn’t a big number. Ralph McQuarrie did a few, didn’t he? Ralph did a couple on Star Wars and we also shared some. Ralph did most of the planets and they were blue-screened in. And on Empire he did at least half of them— he really saved me. I was working on The Black Hole at that time. It finished on a Friday and I went to work at ILM on the next Monday! Luckily Ralph had started work on some paintings. And then at the end of ’79 we had about six months to put together 70 to 80 shots and suddenly it was a different ballgame. It became something you didn’t go to do at night. My biggest concern was getting the equipment put together, and we didn’t crank out a completed shot for about three months. I must say on George’s behalf, he really didn’t put the pressure on. Finally we started cranking them out, and the system worked fine. It was wonderful. But Ralph helped. To do that many shots in six months by myself would have killed me. Doing half of them almost killed me! [Michael Pangrazio also worked in the matte painting department on Empire.] Aside from painting, you were also involved in organizing the department and shooting the shots on Empire, weren’t you? Yes, that’s right. I could leave Ralph to it.

He would say, “Just let me paint,” so I said, “That’s fine—you paint any shot you want to start, and let me worry about making it work.” So it worked wonderfully. He could come in and work 8, 10, 12, 15 hours a day painting, while I was lucky to spend half my time painting. The other half was doing tests and whatever else it takes to get it done. They’d already been working six months before you arrived to work on The Empire Strikes Back, hadn’t they? Absolutely. I had made the deal with Gary Kurtz by phone from London. I was on the set at Disney on The Black Hole, and once again they called me in the midst of

production, which I was concerned with. I said, “Oh God, I’m going to get a lot of photo re-touch work again instead of plates that are nice and fully exposed and not shot with wide angle lenses.” We got our share of that again and it made me crazy, but this time, I had absolutely no doubt I wanted to work on [Empire] because of the pleasurable experience of working with George.

The Black Hole must have involved a lot of matte work? We did a lot of matte shots on that film —a lot—over 100. It’s kind of a bad sign when the average length of them is 15 to 20 seconds—that’s too long. After


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Star Wars, anything over 15 frames seems long! The Black Hole suffered from being too ponderous, though.


Why did you initially decide to go into special effects and matte painting? My father was involved in it for almost all of his life [Peter Ellenshaw was a legend at the original Disney Studio and worked on everything from The Thief of Baghdad (1940) to Dick Tracy (1990)]. I grew up with that, and I was aware of the film industry and aware of matte painting—although it was a highly unknown aspect, as most things in postproduction were until recently. I really didn’t have any intention of following in my father’s footsteps, but he always loved what he did and had this great attitude. He always looked like he was having fun. I didn’t really have any artistic abilities that were out of the ordinary, but I went to work as an apprentice in 1970 at Disney in the matte department. My father was no longer working at Disney, because he had semi-retired and gone on to painting gallery art. A man named Alan Maley was head of the department, and Alan was very good because he had a

tremendous enthusiasm for mattes, special effects, and films in general, and it was very infectious. I was very lucky—I went to learn a job, and it was on-the-job training that paid me $84 a week. Even that small amount was great to me because I really didn’t bring anything to them. I brought a little understanding and a little background and some inherent ability—if you can call it that—but Alan was really willing to teach me how to do mattes. Also, he was involved in miniatures and things like that, so I learned a lot. We were working on Bedknobs and Broomsticks (1971) at the time, and I came in midpicture because they needed someone in the matte department. And in 1970, you couldn’t get a young matte artist to come and train. No one would come and do it—it’s so hard to believe. They had an

opening there, which had been open about six months and they had gone around to art schools and asked people to paint like a photograph. Everybody had replied, “That’s not art. We don’t want to do that.” Now, if you put an ad in the paper, you would have 500 people who’d want to do anything to do with special effects. Especially for ILM, of course. Did you have any schooling in art? No, I was a psychology major. I went to college for four years and got a Bachelor’s in psychology. That probably did me more good in this business than any art major would have. I also went into the Navy for three years. The draft was in effect back then, and it was a time when you made your own choice or they made it for you. How did you end up taking over the department at Disney? I was very fortunate, because Alan decided that he wanted to go and paint for galleries, so he was very interested in having somebody take over the department. I was just an apprentice at the time, and in four years he taught me as much as he could— what I know now is really


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Right: Creating the murky swamps of Dagobah. Opposite: Most of the Empire matte painting team: Ellenshaw (center front) and (from left) matte cameraman Craig Barron, McQuarrie, and matte cameraman Neil Krepela.


attributable to Alan. After four years, he said to the studio, “I’m leaving and I would like Harrison to take over the department.” And they said “Wait a minute, he’s much too young!”—even though I was in my mid-20s. In those days, a department head at Disney would have been at least 45. So they said, “We’ll give him a year and see how he does.” I was very fortunate to go and work for a man who wanted me to succeed badly enough to take his job. Usually you go to work for someone who wants you to succeed but not so much you’ll be a threat to them. Did you ever consider art as your vocation when you were a teenager? Not really. I didn’t live and breathe it. I’m a poor example in that sense, because if you’re an artist these days, the advice is to just do it—just practice and learn as much as you can and you’ll have a chance when the opportunity arises. I kind of backed into


it. Not because of my father so much, but because it was the early 1970s and there wasn’t that great an interest in special effects. So it was just a fortunate instance of being in the right place at the right time. You were associate producer, as well as co-supervisor of visual effects, on TRON. Would you like to do more producing? I think producing can be very frustrating and it sometimes doesn’t receive the credit it

should. I have a lot of sympathy for anyone who has produced, in whatever capacity. I was made the associate producer on TRON because everybody coming in on TRON had never worked on a film before. They’d done commercials and television—that kind of stuff —so they said, “We’d like you to be associate producer and help out in that area.” I found it very interesting and gratifying in many respects, but a thankless job in others. Looking back at it now, I would have


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liked to have just looked after the visual effects, and let somebody else worry about the extra who says he should get a bigger rate because the director talked to him on the side and all that garbage. Sometimes I think the producer spends 95 percent of the day on 5 percent of the picture. Like everybody else in the business, I have a tremendous desire to see things on film, and the biggest kick I still get— and I have yet to find an equal thrill—is to see the dailies. There’s a tremendous satisfaction in that. However I get to be able to contribute to that is okay with me, whether it’s producing or visual effects. I would love to supervise the visual effects on a film again. Being a supervisor of visual effects can mean being a producer as well doesn’t it? You have to deal with an awful lot of hassle… Yes—“stoking and stroking,” as I call

it. Some people you have to light a fire under, some you have to beat over the head with a two-by-four, and you need to try to motivate each one. That’s what I admire about George: his ability to motivate people in a wordless way. It’s very interesting—and very mysterious. I would go to George with a shot that wasn’t working and say, “It’s not working and this is what we’ve come up with—it’s the best we can do. We’ve put a little move here, maybe a blinking light, that might help. What do you think?” He’d look at it and say, “You’re right, it’s not working—go back and see if you can make it work.” I would hate to go to George with that, because you’d try everything in the book, but even though you’d given it 120 percent, he’d still say, “Okay, well, give it another try.” And you would go back and find something to make it better, and it was worth it. What qualities do you need to be a good matte painter? Somebody once said to me—and it’s something I try to remember—“Don’t fall in love with it.” It’s very easy to do that when you’re taking a long time to paint. It becomes a very personal thing. You can take things very personally and that’s why matte artists are crazy people. You have to be able to be objective enough to be sure the completed shot fulfills a purpose. It’s got to be smooth. For instance, say you’ve painted a big white vista with a

mountain or a city in the background, which the characters are going toward. The whole purpose of the shot is that these people are going toward the mountain. The background painting part isn’t as important as the people going toward it. Good matte paintings have to be throwaways. How is a matte painting different to a photo? You have to paint something that looks real. Something that the eye accepts as reality. You don’t get extra points for painting a spaceship from scratch if you can use a photo of the model instead. A photograph is 99 percent or 100 percent there, and I say you can’t get better than 100 percent reality. You can’t make a painting more real than real; you can only equal reality, and anything less is a failure. I have had fights with other matte artists where I say, “Why are you painting this? We have a plate over here with a real cloud, why not stick that in there? Put the real one in and stop trying to prove to me you’re so terrific. Save it for when you need it!” Maybe other matte artists in the business will say, “Boy, that guy can really paint clouds.” I go for whatever works— because then you’re really going to be a hero. a

EXPANDED See more of Harrison Ellenshaw’s work at


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hile rummaging through the drawers of the Lucasfilm Archives at Skywalker Ranch I had the good fortune to hold in my hands literally every piece of artwork generated for Return of the Jedi (at least everything I could find). It was humbling to see up close the immense talent and craft and the instilled beauty, creativity, and energy of those paintings, drawings, storyboards, and sketches by the likes of Ralph McQuarrie, Joe Johnston, Nilo Rodis-Jamero, and others. All the more so given that the majority of artworks were produced in a great hurry. On the one hand d I was a looking for artwork that had never been e scanned, photographed, or pub publis published; lished; o on the other, I was looking for or gems that w would benefit from being rere-scanned e-sca es nne n d or rre-photographed with better bet e techn technology. c olo ol While le con contin continuing i research for the forthc forthcoming h omi m ng g bo book The Making of Star Wars: Return of th the he Je Jedi e (Del Rey, fall 2013), I went throug through u h tthe he e Ima Im Image Archives and Industrial Light & Magic Magi g c photo ph files—finding literally hun hundreds ndreds of ima images that either have never be bee been e n seen or onl only rarely. T final The al step p in all this was laying out the book. k As usual usua I had far too much to us pages (though they’ll have fit iinto nto the 37 372 p a more Insider can mo mor e than 700 7 0 images)—so 70 im m feature dedicated to present an extended exten those unseen or rescanned pieces that didn’t make it into the book.



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c An early speeder bike (or “rocket bike”) concept by Ralph McQuarrie, early 1981.

cEarly creature concepts (possibly for the rancor) by McQuarrie, early 1981.


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cA continuity Polaroid

taken at Elstree Studios of an “Imp Dig” (Imperial dignitary) , early 1982.


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cOn the Emperorâ&#x20AC;&#x2122;s throne room set, director

Richard Marquand gives instructions to Mark Hamill (Luke Skywalker), who eyes his lightsaber, and Ian McDiarmid (the Emperor), at Elstree Studios, early 1982.

fA PR photo taken of Carrie Fisher, early 1982. eAn ILM maquette of an A-wing, circa mid 1982.


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e“The Old Wrist Man” by visual effects supervisor Ken Ralston—a joke drawing, exact date unknown, but between 1981 and 1983. Ken Ralston writes: “I guess I’m referring to my doodles by ‘wrist man.’ I was a big EC Comics fan, but Creepy and Eerie magazines were more my era... plus a big dose of MAD magazine.”


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dAfter Jedi wrapped, a photo session was held with all the models from the original trilogy. Before the official pics were taken, George Lucas took a look at the assembled artworksâ&#x20AC;&#x201D;and examined an Ewok concept maquette in particular (perhaps already thinking of Ewok TV movies?) while producer Howard Kazanjian looked on.


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SConcept art by Nilo Rodis-Jamero of the “rebel war room,” circa mid 1981. The red dot in the lower right-hand corner signified George Lucas’s “okay” for further exploration, as Nilo and Joe Johnston came up with successive ideas for this set. Here the holographic planets can be seen in the center of the illustration.



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At Elstree Studios, director Richard Marquand talks with Harrison Ford (Han Solo) in the Rebel Alliance hangar, early 1982.

TProduction designer Norman Reynolds’ artwork for Red Ball Jett, as Max Rebo was known then, was labeled “Key musician, Jabba’s” and dated October 1981. Always thinking of how things would be built, Reynolds also marked, “Practical bellows from blacksmith’s forge, hopefully!” and that some of the valves here and there would be practical.


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XA publicity still taken of the ever-debonair Billy Dee Williams as Lando Calrissian during a photo shoot at Elstree.


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SModel shop supervisor Steve Gawley (in short sleeves) climbs with others on the outside of the Death Star II reactor chamber model (Nilo Rodis-Jamero is wearing blue jeans). The reactor model was one of the last big projects to be completed at ILM, as time ran was running out…

XConcept art by Nilo Rodis-Jamero of the “transport scene,” from April 1981. Here Imperial troopers descend from their massive ship to the planet surface (most likely, Endor), in what was probably a response to Lucas’s verbal description of a scene that was eventually cut.


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SGeorge Lucas supervises a costume fitting for Mark Hamill (Luke Skywalker) in late 1981.

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Harrison Ford and Mark Hamill during filming on the Ewok forest set at Elstree Studios, early 1982.


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Michael Stevens as a gunner in the Millennium Falcon, in a scene that wouldnâ&#x20AC;&#x2122;t make the final cut; two gunners were filmed, as, originally, more battle action was planned for the pirate ship, early 1982.

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aModel maker Paul Huston at work on the large AT-ST, whose head would be squished between two trees in an Ewok ambush (Huston crafted figures for the vehicle’s cockpit, in case the interior became visible when the head was crushed).

c“Insect droid at slots”—one of the planned creatures for

Jabba’s throne room—concept by production designer Norman Reynolds, December 1981 (a re-scan for the book).

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On January 21, 1982, cast and crew prepare to film a take of the celebration scene—scene no.132—on the Ewok village set.

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XOne of eight possible logos for Revenge of the Jedi, circa October 2, 1980.

W Perhaps the first concept art piece by Nilo Rodis-Jamero for the rebel headquarters on what was to be a grass planet in early scripts. T Early story ideas from an outline by Lucas for Jedi, undated.

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SReconstructing the Millennium Falcon, in part; this stage would be “flooded” with sand for the sandstorm scene—the first scene shot during principal photography.


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SHan Solo (Harrison Ford) coming out of carbon freeze, as filmed by second unit director Roger Christian. The effects would be added in post.

SConcept by Ralph McQuarrie of Imperial guards, perhaps those guarding the Emperor’s palace when it was situated on Had Abbadon in early drafts.

SThe bunker on location in northern California as it was being built in advance of the Main Unit’s arrival. It had to be built sturdy enough to last through the heavy rains anticipated during that time.

S A continuity Polaroid of some food props for scenes shot in Jabba’s barge.

SProduction designer Norman Reynolds and co-producer Robert Watts on the Emperor’s throne set.

SMark Hamill goes “Hamlet” while filming the rancor scene: “Alas, poor… Gamorrean guard?”


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tar Wars Insider: Why is Star Wars so ripe for parody? Michael Price: Everyone knows and loves Star Wars; it’s been around for so long that it’s just become a fun thing to talk about. It’s such a vast universe with so many fun characters that there’s just so much to pick at and have fun with, in a loving way. I think that any of the Star Wars movies

with Harrison Ford have a good deal of comedy in them. Aside from that, it’s incredibly serious—especially in the middle section with The Empire Strikes Back. The Prequels are so incredibly serious that it’s fun to find the humor in them. We’ve also become so familiar with the movies and the characters that it’s fun to laugh at the unrealness of it. I was wondering today about who came up with the plan to send Luke to Tatooine to be

raised by the Skywalker family? If they were really trying to hide him from Darth Vader, wouldn’t you send him almost anywhere but there? I guess Tatooine is on the Outer Rim and far away from everything, but you’d think Vader would have a chance to stop by and take a look at his old house! Where did the idea of LEGO Star Wars specials come from?


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Main image: Darths Maul and Vader lock lightsabers in The Empire Strikes Out! Above: Writer Michael Price

Usually the show comes first, then the toy, and then the game. That’s not what happened with the whole LEGO Star Wars line. LEGO started making their Star Wars toys around the time The Phantom Menace was released in 1999. Then LEGO Star Wars sets became a big thing, and people started making their own stop-motion LEGO Star Wars movies that went on YouTube. Lucasfilm and LEGO decided to start making the videogames with the CGI Star Wars

characters as LEGO, which became hugely popular. They created these mini-movies that were like cut-scenes from the games, but also their own sort of standalone, three-or four-minute shorts—The Hunt for R2-D2 and Bombad Bounty. They were just very silly shorts with no dialogue, and they became very popular. I came into the picture around the time LEGO and Lucasfilm decided to make a TV special: The Padawan Menace. I was brought

in for a meeting at Lucasfilm about another project and they recommended me to LEGO. The brief was that the story had to take place in the Star Wars universe, somewhere in the world and timeline of the six established movies. It needed to have established Star Wars characters, but, other than that, I had free rein. I watched those little mini-movies, familiarized myself with the games, and I realized the kind of whimsical tone they


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Left, from top: The Emperor and Vader; Han and Leia; Jawa buddies! Right: Luke takes flight in his trusty X-wing; Chewbacca and C-3PO face an AT-AT attack!

were looking for. I came up with the original pitch that would become The Padawan Menace. I wrote a five or six-page pitch document that was submitted along with many other pitches from other writers. About two weeks later, I heard from my agent that they liked mine the best—and I was hired! I flew up to San Francisco to meet Kathleen Fleming, who produced the show for LEGO, and Howard Roffman, who was the head of Lucas Licensing, and another great name, Derek Stothard, who’s the Lucasfilm LEGO guy. We had a meeting where I got to tour the Lucasfilm offices and walk the halls of ILM. Howard basically told me to go ahead and do what I wanted to do, to take my satirical shots at the movies, and do what I thought

“I WAS TOLD TO DO WHAT I WANTED TO DO, TO TAKE MY SATIRICAL SHOTS, AND DO WHAT I THOUGHT WAS FUNNY” was funny. Then they’d tell me if I’d gone too far. My original pitch was that the kids were children from the Outer Rim Territories. Howard said to make them Padawans, which made total sense. I had two or three weeks to write the first draft of the script, and I just immersed myself in everything Star Wars. At one point I said, “Oh, it’d be great to have Darth Vader in here, but of course we can’t have him because this show is taking place during the Prequels.” I think between the

three of us, we came up with the idea of him walking on to the set and then George Lucas appearing and saying, “No, no—you’re not in this one!” It sounds like it was a straightforward process. Were there any challenges? The only challenges were in terms of finding the right story and being able to tell it in a 21/22-minute television show. I tend to write long and then have to find a way to make cuts. There were some ideas that I really


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liked that had to be cut. I wasn’t heavily involved in the animation process, but I made myself available. I wasn’t contracted to do anything except write the script, but I had a meeting with Kathleen and the director, David Scott, right before they started production. I talked about the way we do things on The Simpsons, which is that the writer will write the script, put it into production, record it; it’ll start to be animated, and then, about a third of the way through the process, we get an early version of the show back, which we call an animatic (a black-and-white, pencil version of the entire show). We’ll then go back and rewrite things that don’t work. Then the animators reanimate the new stuff and we record new lines. Then it goes forward into the next

stage of animation and when it comes back, we have one more shot to make small changes before it gets on television. I said I’d be really happy to make suggestions or even write some new lines. I wasn’t involved in the voice recording or anything like that on the first special. When it came time to do the second one—The Empire Strikes Out—I was made an executive producer and I was officially active in every part. The animation house that did The Empire Strikes Out is located about 10 minutes away from my office at The Simpsons in Santa Monica, so in my lunch hour I was able to run over there, watch a cut of the scene, and talk about what to do. The second greatest day of my life was

when we did the final postproduction sound mixing for The Empire Strikes Out. We were able to do the mixing and editing at Skywalker Ranch and Skywalker Sound. It was an unbelievable day and we did the sound mix with Matthew Wood who does the sound editing with Ben Burtt on all the Prequels—that was just an unbelievable experience. Was there anything that got cut that you were especially sad to see go? In The Padawan Menace, my original pitch for the middle section had Yoda and “Ian” on Hoth, was much more ambitious. They were chasing a B1 battle droid that had stolen plans. In my original pitch, they follow him and he disappears through a door and


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Left, from top: Luke Skywalker springs into action; the Millennium Falcon takes a dive; Darth Vader takes up an old hobby!

Right: Yoda takes on Asajj Ventress in The

Padawan Menace.

they follow—and it’s a giant battle droid warehouse full of hundreds and hundreds of droids. They don’t know which one it is, so the kid starts a snowball fight. Yoda thinks he’s throwing a snowball at him, but he’s really throwing them at all the battle droids, his deduction being that the one who just ran in would be warm and that the snow would melt on him. They find him and there’s a battle in the warehouse between Yoda, this kid, and 100 battle droids. Everyone said it’d be way too expensive and time-consuming, so David pitched the idea of the battle droid hiding in a sliced-up tauntaun. In The Empire Strikes Out, there’s a scene where Vader escapes from the Jawas in his old podracer and races away. I’m a big fan of

“CHANCELLOR PALPATINE IS FORCED TO ANNOUNCE THAT THE GOOD GUYS HAVE WON! EVERYONE’S CHEERING AND IT’S JUST KILLING HIM!” the really minor Star Wars characters, so I’d written a little part for Fode and Beed, the two-headed announcer from The Phantom Menace. We ended up cutting that. But it was only small things like that. Do you have a favorite character to write for? I love Yoda. In The Yoda Chronicles [the allnew LEGO Star Wars project], we’re doing

three episodes this year, and they tell a story that is set around the same time as The Padawan Menace. The big star in that, you’ll be unsurprised to hear, is Yoda. I think one thing that helped me get the job in the first place was making Yoda such a big character, because not only are there endless jokes about the way Yoda talks, but it’s funny to see this very dignified Jedi Master forced to argue with a kid.


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In these new shows, we have a greatly expanded part for Chancellor Palpatine/ Darth Sidious. I was really pleased with that little moment in The Padawan Menace when he’s flipping his hood back and forth, so that’s been expanded to have fun with the idea of his double life. This man who is secretly the embodiment of all evil has to pretend to be Mr. Nice Guy. There’s a scene where Sith forces are being routed in a battle and Chancellor Palpatine is forced to announce that the good guys have won! Everyone’s cheering and it’s just killing him inside that he can’t express his anger and his fury! We also have a lot of great fun with Count Dooku and General Grievous, who is a bumbling fall guy of the baddies.

With the promise of more Star Wars movies to come, would you be interested writing a Star Wars comedy movie? Absolutely! I’ve been a huge fan of Star Wars and it’s always been a part of my life. To now be a part of it and working with these really amazing characters and getting to know them has just been one of the greatest thrills of my life. I would jump at the chance to do anything! The Simpsons is wonderful, the greatest job I’ll ever have, but if I’m going to be doing a little something on the side while I’m there, I can’t think of anything better than this. What do you make of the exclusive minifigure of Darth Vader with his medal that

comes with the Blu-ray? That to me is the greatest thing of all: that I’m responsible for a LEGO Star Wars minifigure. I have the mini-figure of young Han Solo from the DVD and I can’t wait to have Vader with his medal!!a

EXPANDED LEGO Star Wars The Empire Strikes Out is out on Blu-ray and DVD on March 26 in the U.S.A. and in the U.K. on March 18. The Yoda Chronicles airdate is TBA. Follow Michael on twitter @ MikePriceinLA.


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s the heroine of the Star Wars prequel trilogy, Padmé Amidala has been represented by thousands of collectibles in the years since she was introduced in The Phantom Menace.


1] During production of Episode I, Lucasfilm featured the young queen on a variety of cast and crew items. The official invitation to the Lucasfilm company screening of the movie was based on Queen Amidala’s gown and the wider design ethic of Naboo. Later that year, Padmé’s likeness was used on the invitation 2 for the 1999 Lucas Companies Holiday Party. There were four different variants of the invite, based on one of four Tarot cards, and the Queen Amidala A design saw her on her throne, holding a lightsaber and a crystal ball, above the title “Queen of Visual FX”. Also in 1999, Queen Amidala appeared on an embroidered patch in a set made for Industrial Light & Magic crewmembers working w on The Phantom Menace. A year later, la Queen Amidala appeared on the 2000 Lucas Learning Holiday Card, in a Christmas Chr Tree gown based on o her red, bellshaped shape gown from the Theed Palace throne Th room scenes. r

2] Some of the most highly-prized Padmé pieces emerged from the original Clone Wars micro-series that aired following Attack of the Clones. In one episode, Padmé travels to an ice planet wearing her “snow bunny” outfit. Though Padmé is in the ensemble for only a couple of minutes, various toys and collectibles have been produced based on this design. The holy grail among these is the Gentle Giant “Snow Bunny” Padmé sculpture, which was produced as a Star Wars Shop exclusive. Its popularity massively underestimated, it sold out quickly and now commands multiples of its original price. Similarly, the ACME Archives Padmé Snow Bunny character key was another instant hit, produced in a limited edition. Chef Boyardee also participated in a promotion for the micro-series, creating a label for its beef ravioli cans showing Padmé in a different gown from the series.



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3] In addition to the ravioli, Padmé has appeared on a wide range of food items from the movies. For Episode I, La Vache Qui Rit cheese was released in five differentsized “wheel” boxes with Queen sode Amidala’s image on the carton. For Episode III, Pepsi Japan created unusual bottleshaped Pepsi Twist cans for special vending machines using an image of the Queen. Also for Episode III, tiny 25-30 gram boxes of Coco Pops, Frosties, and Corn Flakes available in Southeast Asia offered Padmé Amidala “power cards” on the box backs. But the coolest Padmé cereal item was the free giveaway to attendees of the Star Wars Celebration V Collecting Panels— the “Franken Naberrie” cereal box parody that wass featured among the 16 differentt boxes in the set. The ed design parodied a well-known


deformed figure toy (massive head deform f on a tiny body) also projected an tin image of Anakin Skywalker against o the wall wall. Even harder to find are the hard copy prototypes saved by the line’s des designers. cereal brand, Franken Berry, with Padmé’s high Episode II hairstyle tweaked with “Bride of Frankenstein” highlights to create an image fitting for that cereal. Jeff Correll’s brilliant design for the box has all sorts of subtleties, from the Naboo-style “fleur de lis” on the strawberry to the stamp proclaiming “Fortified with eight essential Gungans and Panaka.”

5] One of the most obscure Padmé items is a Queen Amidala bootleg coin made for San Diego Comic-Con in 2004. One of the dealers at the show created 250 of these unlicensed coins, and though sales were not particularly successful, a small number did get into circulation, and have since become some of the rarest Queen Amidala items ever produced. a

4] Numerous Padmé Amidala toys have been produced over the years, and some favorites include the Queen Amidala “shadow caster” made for Bu Burger King’s Revenge of th the Sith promotion. This



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tar Wars Insider: Season two of Star Wars Rebels has really been about diving into characters’ backstories. How much do you know, or do you learn more about Hera as you recieve scripts? Vanessa Marshall: We learn as the scripts are doled out. Sometimes we have vague notions, but nothing’s confirmed or denied. We learn in real time as we record the arc of the season, and then come the secondary experience of seeing it fully executed which is like a magic carpet ride compared to actually reading the text. It’s a two-fold learning process, and it’s interesting because we learn along with the fans since we end up seeing the final product when they do, when it airs. It’s exciting. Hera recently interacted with her father, Cham, for the first time in

to get to work with Robin Atkin Downes (Cham Syndulla) and Catherine Taber (Numa). It was an honor; I really treasured the work they did on The Clone Wars. It was satisfying on every level.

years. How did you react to that as a fan of The Clone Wars? I was thrilled to find out more about Hera’s backstory and what motivated her to make the sacrifices that she did and join the Rebel Alliance and go at it alone. It was really helpful for me to get more background information. But as a fangirl, I loved the Ryloth arc in The Clone Wars so much and I was, of course, curious about what happened to Cham and Numa. We had so much answered in this episode. I was also very excited

That episode, along with other events in season two, showed how Hera has become a stronger leader. With her new role in the Rebellion, she’s had to carry burdens like losing pilots. How is she handling the different responsibilities and pressure? It’s interesting because the structure of the Rebel Alliance has grown more organized, and that’s of course simultaneous to the Empire growing so it’s not that much of an advantage, but I did feel like this season Hera could somewhat fall back and rely on their military code and structure. She hasn’t had to be so covert, doling out only certain pieces of information


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to her crew members. She tended to know a lot more from Fulcrum than they did and would only tell them as much as they needed to know to get the mission done. So now, that burden isn’t on her. On the one hand, it’s a bit more relaxed for her, but since both parties have grown, the battles have become far more heinous and the consequences have too. She’s been awarded for all the militaristic choices she’s made— she’s Phoenix Leader now. With that comes a lot of dire consequences that she has to face. With a greater number of ships comes a greater probability of losing one of them, if you will, so I think she has had to experience different kinds of losses in this season and that definitely takes its toll because she cares so deeply about all of them. The cause is important, but it breaks her heart to lose anyone at the expense of winning a battle.


She does seem to have more compassion compared to someone like Commander Sato. She’s more emotionally invested. She has that rebellious spirit and she stands for human rights, or entity rights. She has noble ideas, and she was raised with that philosophy. She utilizes that on a daily basis, and it’s more of a religion for her whereas perhaps for Sato, it’s a job. We particularly learned that in the episode with her father where she’s trying to argue for the validity of her cause. It’s

really important to her that she prove a point that may have been left hanging when she left Ryloth. If she’s living her beliefs, she’s demonstrating the validity of her departure and the value of choice and the good it does. Ultimately, I’m so glad that Hera and her father saw eye to eye because they really are on the same page, so it was great that they could realize, “Well, you actually inspired me,” and “Well, you actually broke my heart when you left and I cared.” They were able to say, “Wait a minute, we’re both fighting for freedom. Why don’t we stop fighting ourselves?” It was a non-fight, in a way, but when feelings are hurt like that, I think particularly when family’s involved, there’s nothing in the world that means more than a parent saying, “I am


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Hera’s Best

Quotes WORDS OF WISDOM FROM THE PILOT OF THE GHOST. “If all you do is fight for your own life, then your life is worth nothing.” —“Spark of Rebellion” Clockwise, from far left: Hera Syndulla, rebel hero; Hera and Sabine in action; Sabine and Hera continue the Star Wars saga’s long tradition of presenting strong role models for it’s audience; Cham Syndulla reunited with his daughter; A family bond is rekindled.

“We have hope; hope that things can get better. And they will.” —“Vision of Hope” “There isn’t a pilot in the Imperial Fleet that can outrun me.” —“Vision of Hope” “I chose to leave my family, I chose to learn to fly, and then I chose to use that ability to help others in need. But it’s all rooted in something I can’t explain, a need to be up there. Because even when there are explosions all around me, and things are at their worst, I feel like I’m at my best.” —“Wings of the Master” proud of you.” When he does so at the end of the episode and acknowledges her title as captain, there’s a smile on her face and it’s a very genuine smile. That’s all she ever wanted. She doesn’t necessarily fight to get recognition, but it’s nice when it happens. It was important that she was seen and heard. I know, in general, if you want to be understood or heard, you’re setting up a recipe for disaster. It’s better to understand than be understood in most situations. Because arguing to be understood, you can blow hot air for hours and get nothing but frustrated. People say it’s a set up for resentment if you need to be understood. When she was arguing with her father, I don’t even know if she was aware of how much she


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needed his validation. Maybe her ego would say she didn’t need it, but she was very satisfied to have it. I can understand that because there are times when it feels really great to feel understood. She really doesn’t get distracted with the small stuff. This is the one and only situation where she did. I thought it was interesting that her Ryloth accent came out in that heated moment. As an actress, it made sense to me that Cham was triggering some of her very core childhood issues and the last time she spoke to him that is how she sounded. She cried out from that place of injury, and it spoke with that accent and it was a very authentic moment— the military strategist in her would never have revealed that accent. I think she dropped the accent so she could operate as more of anonymous entity accomplishing more for the cause, but it flips out in that moment because the situation really broke her heart. Was it an intentional decision to have her Ryloth accent come up during the argument or something that happened as an experiment? We recorded it both ways. Dave Filoni emailed me several months before we got this episode saying, “I’m having a


discussion, and we e were thinking, would Hera ever, if she went home, speak in her native tongue?” My response was, “Only if she’s angry.” I’ve ve seen that with friends who lose their native tive accent, but the minute someone from their family calls to nag them aboutt something, they’ll go right into their deep ep southern accent or whatever it is. So, when we went to record the episode, e, I asked Dave if I could do the accent and he said, “Yeah, let’s try it.” We recorded itt both ways, and frankly,


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I didn’t kn know which one they were going to cchoose. The episo episode with Cham showed Hera with a little anger, and the episode w with the purrgil featured a very irritated irr Hera. She’s shown a wider w range of emotion in season two. What’s that been like to ex explore? It’s been rreally cool. Obviously the purrgil ki killed some of her friends, so she ha has a natural hatred for them—not hatred necessarily but them—no lives were lost because of them. But what’ what’s cool is her opinion got to change and evolve. Some people focus on tthe fact that she didn’t like them, them but what Dave wanted to illustrate is you’re allowed to have an opinio opinion at the beginning of the episode and a it can change. By the you watch them go end of it, when w hyperspace and realize the into hype part of the story where they other par the idea of hyperspace, gave us th

Clockwise, from top left: Hera joins the crew of the Ghost; Cham Syndulla previously appeared in Star Wars: The Clone Wars; the return of Hera’s father allowed actress Vanessa Marshall the chance to explore Hera’s emotions more; Kanan and Hera, crew mates on the Ghost, have a special bond; Hera takes aim!


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HERA’S GREATEST MOMENTS A WOMAN OF ACTION AND STRENGTH, HERA HAS PLAYED A CRUCIAL ROLE OLE IIN N THE FIGHT AGAINST THE EMPIRE! RE! WIELDING A TRAY Y Hera has shown her resourcefulnesss over over at skil sskill killl and over again. She demonstrated that n she sh he e to the extreme in “Idiot’s Array” when g tr tray ayy escaped Azmorigan by using a serving as a weapon.

TESTING B-WINGS S Ever the fearless pilot, Hera visited ed Shantipole to test a new ship designed ed by b an engineer named Quarrie in “Wingss of the the Master.” It was a dangerous mission, n bu n, butt Hera succeeded in flying the B-wing, n ng, which would become invaluable to the h Rebel Alliance.

that’s quite magical. Hera praises them, ultimately. That’s what Dave was trying to show—people are able to go from having close-minded views to learning and accepting things, even in one episode. Hera has developed so much already, but where do you think she could stand to learn some lessons? I think she’s so focused on the overall mission that at times it seems like she doesn’t know how to unwind. She’s pretty tightly wound with honoring the agenda, which is understandable because there are things in the balance that make it that important. People ask about Kanan and Hera and the status of their relationship, and I think she is so focused on her mission she doesn’t even allow herself to have anything as, for lack of a better term, petty as a romance. That’s terrific because she manages to be focused and get a lot done. She’s an incredible leader, but sometimes I wonder what it would look like if she just chilled out, played sabacc, and mellowed out a little. That doesn’t seem to be her specialty. Someone’s work ethic is fantastic until it becomes

EMPHASIZING TRUST ST In season one, Hera was responsible e for f keeping the secrets of the burgeoning nin n ing rebellion safe. She had to keep things ngss hidden from her crew, and though it wasn’t w n’tt was as daring as piloting, the lessons she taught ta tau aught g gh Sabine in “Out of Darkness” about trust trrust st were just as valuable.

DARING RESCUES S Hera’s used her piloting skills to save ve e th the he crew of the Ghost again and again. She She’s e’ss performed so many impressive maneuvers euve uvers rs in nearly every episode; all of them should houl ou d be counted among her best moments. nts t .

MOVING UP THE RANKS NKS Hera has fought on the side of the R Rebel eb l ebe Alliance because she wants to see change hang n e come to the galaxy, not because she he wants recognition. She was promoted ed d byy Commander Sato to Phoenix Leader der in “Wings of the Master” though, an and d the promotion couldn’t have been more mo e mor well-deserved.


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workaholicism, and they cease to have an emotional life. I think it’s important to do things or have hobbies outside such deathdefying circumstances, and I don’t think she allows herself to play and unwind. I don’t think she will and I don’t think she has time for it, but I’d love to see her be silly. Hera’s day off! She needs one. Exactly. I don’t think she’s had one in a while. Over the course of two seasons, which character’s development, apart from your own, has surprised you the most? Ezra. I’m really proud of Ezra. I love how he has learned from Kanan and how his take on being virtuous is somewhat scrappy.

Even his lightsaber is made out of garbage or scraps. It’s last-minute, yet very effective. I love how industrious he is and how he’s


really grown up and consistently chosen to do the right thing. I feel the same way about Taylor. I’ve been surprised by his growth and evolution. It seems like his growth

is mirroring that of Ezra’s, and I’m really impressed with Taylor’s work and his work ethic. Now that the cast has been recording for a few years, how have things changed or stayed the same during sessions? At the beginning, none of us could actually believe we got this job. There was more wonder and amazement; people were sort of suspended in a dreamlike fog of euphoria and gratitude. As we’ve gotten to know each other and this has become more of a common situation, it’s much more relaxed. It’s no less impressive; we are still equally grateful to be there but we do make fun of each other and crack jokes. It definitely feels more like a family environment.

Clockwise, from top: Hera can be as tough as she is compassionate; the Ghost; a bold pilot, Hera’s skill in the cock-pit has gotten the crew out of countless scrapes; actress Vanessa Marshall gives voice to Hera in Star Wars Rebels (photo: Cherie Roberts)


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WHAT THEY SAID D “Fi F rst s they e pra racti t ced with h two wo pupp petss on one strin strin st ng dangling from the roof jusst to see if the h rop r e wass s ong str o enoug ugh, h then they pu ut allll the thesse car th ca dbo dboard arrd ard boxes down on box n the t gro g und, but I cou oul u dn’’t see ul see e how the h boxes we were goi go ng to pre p eve ent me from om brre ea aking any bones. Afte f r kissing Ma Mark rk, k Ge G o org rge want wanted me to say ay ‘Forr luc uck’.. Then I was sup ppos po ed tto posed o sho sh h ot the gun and swin wi g. g On O the sw wing acros accros ross, s I was g s, go oing g to hold the gun g , whic h h wass re real heav eavyy, eav y, and th that a sca at cared d me bec b ausse I thought I’d d drop it. t I was was al also so afr fraid a aid my hairr was w going to o falll off. ff Bu ut it w was as fu funny fun nyy tha hatt ha day—everyone ne was laug a ghin hin i g—a g g— nd we onl onlyy had d to do it onc o e.” e Carrie Fi F sher, r The T Makin ing g of of Star ta a Wa Wars rs— rs —T The e De efin initi itivve e Sto t ry Beh Behind The Origina nal Fil ilm m by J. J.W. Rin R zle er

TRIVIA a yss Mark ab k Hamill Ham and an nd Carrie Carriie Fisher Fis er swung swung ng The abyss was only only around around 12 feet fee eett deep d dee eep ee e p in th the e stud sstudio—the tud udio— io—the io— the e over was illusi s on of the he long g drop seen seen in n the the finished nishe ni shed fi film was illusion lm was m tte e pain p ntting ing g. created by using a ma matte painting.

INT. DEATH STAR—CENTRAL CORE SHAFT Luke and Leia race through the hatch onto a narrow bridge that spans a huge, deep shaft that seems to go into infinity. The bridge has been retracted into the wall of the shaft, and Luke almost rushes into the abyss. He loses his balance off the end of the bridge as Leia, behind him, takes hold of his arm and pulls him back.


The iconic 1930s Saturday film serials like Flash Gordon and Zorro were influences on Star Wars, and George Lucas tried to buy the rights to the former before deciding to follow his own vision. Those influences are evident in this scene in particular. It’s not difficult to imagine Luke and Leia’s predicament here—trapped on a precipice with no apparent way across, and enemy stormtroopers about to come through the door behind them—as a literal cliff-hanger ending to an episode of one of those serials. In this case, however, the audience didn’t have to wait another week for the outcome, as the resourceful Luke uses a rope and grappling hook to swing across the chasm, the princess in his arms. It’s a particularly swashbuckling moment, and shows that from the very start, Star Wars deserved its place among the classics.

LUKE: (gasping) I think we took a wrong turn. Blasts from the stormtroopers’ laser guns explode nearby reminding them of the oncoming danger. Luke fires back at the advancing troops. Leia reaches over and hits a switch that pops the hatch door shut with a resounding boom, leaving them precariously perched on a short piece of bridge overhang. Laser fire from the troopers continues to hit the steel door.


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LUKE & LEIA WHAT THEY SAID “I split the teams up and had them both go through their little series of adventures here. The swing across the Death Star canyon was really, again, in the tradition of the old serials—Tarzan, Zorro, Errol Flynn movies, Robin Hood—they always had a swinging scene of some kind. It also was a chance to sort of bond Princess Leia and Luke who— unbeknownst to them at this point, are brother and sister, but to give them that moment of connection.” George Lucas, Star Wars: Episode IV A New Hope DVD audio commentary

SCRIPT – REVISED FOURTH DRAFT (1976) LEIA: There’s no lock! Luke blasts the controls with his laser pistol.

bridge overhang across the abyss from them. They exchange fire. Two more troopers appear on another overhang, also firing. A trooper is hit, and grabs at his chest.

LUKE: That oughta hold it for a while. LEIA: Quick, we’ve got to get across. Find the control that extends the bridge. LUKE: Oh, I think I just blasted it. Luke looks at the blasted bridge control while the stormtroopers on the opposite side of the door begin making ominous drilling and pounding sounds. LEIA: They’re coming through! Luke notices something on his stormtrooper belt, when laser fire hits the wall behind him. Luke aims his laser pistol at a stormtrooper perched on a higher

Another trooper standing on a bridge overhang is hit by Luke’s laser fire, and plummets down the shaft. Troopers move back off the bridge; Luke hands his gun to Leia.

LEIA: Here they come! Leia hits one of the stormtroopers on the bridge above, and he falls into the abyss. Luke tosses the rope across the gorge and it wraps itself around an outcropping of pipes. He tugs on the rope to make sure it is secure, and then grabs the princess in his arms. Leia looks at Luke, then kisses him quickly on the lips. Luke is very surprised.

LUKE: Here, hold this. LEIA: For luck! Luke pulls a thin nylon cable from his trooper utility belt. It has a grappler hook on it. A trooper appears on a bridge overhang and fires at Luke and Leia. As Luke works with the rope, Leia returns the laser volley. Another trooper appears and fires at them, as Leia returns his fire as well. Suddenly, the hatch door begins to open, revealing the feet of more troops.

Luke pushes off and they swing across the treacherous abyss to the opposite side. Just as Luke and Leia reach the far side of the canyon, the stormtroopers break through the hatch and begin to fire at the escaping duo. Luke returns the fire before ducking into the tiny subhallway.


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