Tag Archives: Star Wars

“The Word ‘No’ Isn’t In His Vocabulary”: An Interview, Part III

This is the final part of an extended interview with Polish media on George Lucas and Star Wars. The first part is here and the second is here.


I’m very curious about his relationship with Steven Spielberg. Can there be a situation that Spielberg jokes about Lucas not having an Oscar for directing a movie?

Dedication Of The Sumner M. Redstone Production BuildingLucas and Spielberg have one of those wonderful fraternal relationships where, as brothers do, they both admire and compete with each other. Would Spielberg ever make such a joke to Lucas? I don’t think so – that one might be a little raw; you can see it in Lucas’s face when Charlie Rose mistakenly says that Lucas has won an Oscar, and Lucas says with a slight grimace, “No, I’m too popular for that…”

Now, Spielberg has joked about Lucas and all his talk about going back and doing the kind or small, arty films he used to do in college. “We’re still waiting, George!” he says.

Of course everyone want to know about Lucas and Star Wars, but he also created great stories for Willow and the Indiana Jones movies. Sometimes people forget that he did that–they only remember the directors. Why is that? Do you agree that those movies are crucial to understand Lucas as a storyteller?

71CmDQGYLQL._AC_UL320_SR214,320_Do people forget that Lucas was involved with those movies? Maybe for Willow, though I think people now remember it more as a George Lucas film than Ron Howard one! I think the point, anyway, is that Lucas had a great knack for story concept – or, at least, how that story should look at 20,000 feet. In the best instances – Star Wars, Raiders – it then took some really great writers (Willard Huyck, Gloria Katz, Lawrence Kasdan) to pull the final story and script together. The main ideas – the characters, the concepts – behind Willow and at least some of the Indiana Jones movies are really good ones, but the execution can be tricky. With Raiders, I think, it’s done about as well as it has ever been – that’s one where Lucas is content to light fuse and stand back and let Spielberg put Kasdan’s script to work.

I think the Indiana Jones films and Willow do help one to understand Lucas as a storyteller, ecause both of them are him using everything that’s important to him as a storyteller and mythmaker, whether it’s old Saturday morning serials and comic books or fairy tales and the Bible. But it’s not what Lucas has, necessarily, but how he uses it. The Indiana Jones movies made a lot of those old tropes look new and exciting. With Willow, it’s slightly different – it’s an intentional and obvious nod to Lucas’s love of fairy tales, to the point where one critic called him “the Great Regurgitator.” But I think Lucas was right about Willow, though at the wrong time. It’s got a bigger following today than it did back when it was made and, I think, has aged pretty well.

I often read very different views about Lucas opinion about Expanded Universe, especially books. Did he ever read any Star Wars books? Do you know something about that?

I can’t answer that with authority. If I had to guess, I’d say I’m fairly certain he’s read the Timothy Zahn novels, and he loves comics enough that I’m willing to bet he’s gotten his hands on a lot of what Dark Horse has put out. At the beginning, Lucas had firm ground rules for the Expanded Universe: no killing off characters he hadn’t killed himself, no bringing back any who were already dead, and no mucking about in Episode I-III territory. Those rules became fungible as time went on – hence the death of Chewbacca – and Lucas eventually felt the need to ‘catalog’ what, exactly, would be considered canon and what would be considered expanded universe. Which shouldn’t be at all surprising, given his constant need to control his own universe.

Star Wars without George Lucas in now a reality. Do you think that he really will ever let go of his “baby” emotionally and will never try to do something with Disney maybe? Probably they would let him if he asks and it will be good idea.

I think Lucas’s relationship with his franchise will always be complicated. There’s good reason he compared the entire experience to divorce, as his own divorce was one of the most painful times in his personal life. I think he’ll let go of Star Wars as much as any of us let go of our own children, which is how he regards the franchise: we watch them grow up and go off into the world to do their own thing, and sometimes they make decisions we don’t necessarily agree with – they marry someone we don’t like, or they live too far away – but we still love them anyway, even if we can no longer tell them what to do. Will Lucas ever really return to a Star Wars film? I don’t think so. They paid him very well to hand over the keys to the car. While they’ll let him sit in the back seat – the films still bear the Lucasfilm, Ltd. Imprint – I don’t think they’ll let him drive it again.

 Your book about George Lucas is in bookstores only few days before new Star Wars movie and Christmas. It’s like perfect timing. How you would recommend your book to Polish readers? Why they should check it out?

First, it’s always fun to read about Star Wars – and I think this book will give you a better understanding of the kind of blood and sweat that Lucas put into getting the first Star Wars made and marketed. It really is a David and Goliath story, with Lucas using sheer force of will to get a movie on screen that very few people understood or believed in. More than that, however, it’s the story of the birth of modern cinema. All those things about film that we take for granted these days – sequels, action figures, great previews, waiting in line, soundtracks, eagerly anticipating the release date, great sound, convincing special effects – George Lucas either did it first, or laid the foundation for others. His contributions to film, I think, can’t be understated. He’s so much bigger than Star Wars (which is already pretty big!), and I think this book will give you a better understanding of his accomplishments beyond the galaxy far, far away. And it might also remind you of how much you love some of his other smaller projects, like American Graffiti, Willow, Tucker, or even Captain Eo.

rogueone_onesheetAFinally, it’s ultimately a great story about being absolutely true to yourself and committed one thousand percent to your own vision. Lucas constantly invested his own money in his company and in his films, even as his accountants fretted. Lucas was and is absolutely committed to getting the vision of the artist up on the screen in its purest form, and has worked his entire career to give them the tools to do that, whether it’s developing the gold-standard in special effects with ILM, creating groundbreaking digital technology (part of which became Pixar), or encouraging theaters to install earth-rumbling sound systems – like THX – to ensure a movie sounded in the theater the way it did in the editing room. The word ‘no’ isn’t in his vocabulary. If you’re a creative person – or a businessperson! — looking for a bit of inspiration, I think you’ll find that in George Lucas’s story as well.

Last final question… so “Rogue One” is new Star Wars movies with real connection to the first one George Lucas directed. What are your expectations as a viewer and a person who know so much about Lucas work with previous movies?

 Star Wars is one of the real gifts Lucas has given us culturally – and it’s due in no small part to the fact that he’s given us a great big universe, with almost infinite places to play, and infinite stories to tell. I think there are plenty of talented people and talented storytellers we can hand the franchise to, who will manage it wonderfully. It’s easy to be cynical about Disney, but I think Disney really does ‘get it.’ I think they’ll take great care of the franchise. I think the story being told in Rogue One is an exciting one – and when I first heard that it was the story being told, it was one of those head-slapping moments where you think, ‘Of COURSE! What a great idea!’ And after seeing the movie, I can see why Lucas gave it his approval. It’s full of all sorts of affectionate little nods to his ideas and concepts – the Whills, Kiber crystals – while still taking the franchise in an exciting direction. I’ve got great hopes for Star Wars in Disney’s care, so don’t blow it! To quote Han Solo: “Great kid! Don’t get cocky!”

“He Isn’t Inclined to Worry About Your Emotional Well-Being”: An Interview, Part II

Part II of the interview I did back in December with Polish media (Part I is here.)

After all those years you can say something new about George Lucas? Was there any new topic you discovered during your research that maybe surprised you?

 Well, again, I think part of what’s new here is simply the fact that his story has never really been told in a comprehensive manner before. We read about Star Wars, or Indiana Jones or even the godawful Star Wars Holiday Special and we think, aha! There is George Lucas. He’s the Star Wars guy, or the Indiana Jones guy. But he’s so much more than that. He’s an extraordinarily good businessman, even as, at times, he’s extraordinarily reckless with his own money. He’s constantly pitching projects – and, to my surprise, constantly running up against opposition, even with a project as terrific as Raiders of the Lost Ark. He’s generous, loyal to his friends, and stubborn as hell. He considers himself ‘the little guy’ even as he’s building a gigantic do-it-all-himself film empire. He’s really a wonderfully complex guy who has made some really astonishing contributions to culture and film – and that, I think, is something readers may not truly appreciate until they get everything in context.

I often read comments from journalists and normal viewers that prequel trilogy would be better if Lucas would oversee everything like with Empire Strikes Back and Return of the Jedi. What are your thoughts about that? Do you think that being director, screenwriter and overseeing everything was too much for him?

Lucas_revenge-of-the-sith_photofestBack in the 1980s, it was definitely too much for him. He stopped directing right after Star Wars, for example, because it actually took a physical toll on his health. He had little patience with actors, and the daily grind of being on-set really kind of annoyed him. He was much better suited to producing, where he could still oversee and control everything without having to actually run the set – though with Empire and Jedi, he still practically parked himself on the shoulders of his hand-picked directors anyway. Lucas can really never not be involved.

Maybe that was the part of a problem with prequel trilogy. Lucas always has bold ideas but he thinks too much about technology and special effects and not about plot, actor’s performances and dialogues. What do you think about that?

That’s probably true to some extent – but the prequel trilogy likely wouldn’t have been made at all without Lucas at the helm. For him, it had become personal – not just Star Wars, but digital filmmaking. Lucas really wanted to make certain the prequels were done right – or, at least, as close to his vision for them as possible. The only way to do that, really, was to control as much of the process as possible, from production and design all the way down to the actual directing of the film. I don’t think Lucas would have been ready to relinquish control of those gigantic films.

What do you think about Lucas relationship with Star Wars fans? Some see him as god other as a devil so probably it is difficult for him.

Lucas’s relationship with Star Wars fans is like a writer’s relationship with reviewers. We pretend we don’t care what they say, and then we still read every word. Lucas, to his credit, has always made the kind of movies he wants to make, critics and fans be damned. I think the fan nit-picking did bother him enough that he scaled back whatever plans he might have had for Jar Jar Binks – that character was an absolute and unexpected disaster for him – but other than that, I think hearing the fans complain was just like listening to Ned Tanen at Universal all those years ago trying to tell him what was wrong with American Graffiti and then arbitrarily editing four minutes out of it. To Lucas, what do the suits know about filmmaking? And I think he’d say the same about fans: what do they know about filmmaking? He’ll make the film he wants and isn’t inclined to worry about your emotional well-being!

His curse, of course, is that he’s created this wonderful mythology that we all feel we own a piece of. We all feel entitled to Star Wars, we all have opinions, sometimes strong opinions, on Star Wars. When we hear Lucas liked Rogue One, for instance, half the fans think, “Great! They must have gotten it right!” while the other half think, “Rats, it must really suck.” It’s a love/hate relationship, and one that Lucas and his fans will wrestle with in perpetuity.

Would you say that Lucas passion for cars and motor racing influenced some set pieces in Star Wars or his other movies?

george-lucas-indy-4Absolutely. Lucas is fascinated by man’s relationship with machines – it informs his work all the way back to college in films like THX-1138 4EB or 1:42:08, which features race car driver Allen Grant putting a racecar through its paces. His own experiences as a gear head and a cruiser in high school are up there on the screen in full force in American Graffiti. And in Star Wars, his ships tend to move and dive and scream by like cars at a race track. Heck, the podracing scene in Episode I is practically the drag race in American Graffiti! Even a ship like the Millennium Falcon is really just a spaceship hotrod, souped up for speed and with a lot of special modifications that the driver made himself. Even Darth Vader himself is a man struggling with machine – “he’s more machine than man now” Obi-Wan tells Luke.

Lucas was criticized for directing quality of prequel trilogy but he was great with smaller movies like “THX” and “American Graffiti”. What do you think? Why there is so huge difference?

Lucas had a great, big story to tell with the prequel trilogy – and I think, partly, the story got away from him. But more than anything else, I think Lucas was really excited about finally playing in a completely digital universe. For the first time, he had the technology behind him to put practically anything up on the screen, and he was determined to use as much of it as he could, opening up new worlds and cities, and creating wild new characters that could only exist in the computer. Lucas, I think, really loves the world building – his first drafts of Star Wars, for example, get somewhat bogged down in it as well, but the costs of putting those enormous worlds on screen were too cost-restrictive in 1977. Lucas had to scale everything back. He didn’t have to do that in 1999, or 2003 or 2005. It’s all there on screen, for better or worse.

Do you know how George Lucas feels about being remembered only as Star Wars creator?

I think he’s accepted that the first line of his obituary will always read “Star Wars creator George Lucas…” But really, I don’t think he’ll ‘only’ be remembered for creating Star Wars. I think – I hope – he’ll be remembered as an innovator in filmmaking, as one of the Founding Fathers of digital cinema. Lucas also changed the way we as fans relate to films and filmmakers. Lucas turned film-going into a true experience, from being excited about these little two-minute sneak previews, to waiting in line for hours or days or weeks, to watching a great movie with great sound in theater with a spectacular sound system, then buying all sorts of great merchandise afterwards. Directors are rock stars now – we look for “A Tim Burton Film” or “A Film By the Coen Brothers.” George Lucas did that.

Up next in the final part of the interview: Willow! The Expanded Universe! Rogue One!

The Picture That Worked

1479841656763800973Forty years ago this week — Sunday, May 1, 1977, to be specific — George Lucas screened the premiere of Star Wars at the Northpoint Theater in San Francisco , the very same theater where he’d triumphantly (though not perfectly) debuted American Graffiti in 1973.  Lucas was bracing for the worst; previous showings of the film, even as a work-in-progress, had been met with indifference, confusion, and sometimes anger, even from some of his closest friends (“What’s all this Force shit?” Brian DePalma had thundered at Lucas after a private showing in February).

Just before the showing at the Northpoint, in fact, Lucas had pulled aside film editor Paul Hirsch — one of three editors on the film, a talented trio which also included Lucas’s wife, Marcia — and warned him that they’d likely be asked by 20th Century Fox to recut the entire film. Marcia, however, had given Lucas a gauge for the film’s success in its current state: “If the audience doesn’t cheer when Han Solo comes in at the last second in the Millennium Falcon to help Luke when he’s being chased by Vader,” she told him, “the picture doesn’t work.” As the lights went down, Lucas locked eyes momentarily with Alan Ladd, the one producer at Fox who had believed in him and whose reputation was as wrapped up in Star Wars as Lucas’s own.  The picture had to work.

It did.

The moment the enormous Star Destroyer rumbled overhead in the now-famous opening shot, the theater went mad with excitement — concept artist Ralph McQuarrie, in attendance that day, remembered lots of “hollering and cheering.” And sure enough, the place exploded with cheers and applause at this moment:

The applause didn’t end with the film. “It kept going on, it wasn’t stopping,” recalled Alan Ladd, “and I just never had experienced that kind of reaction to any movie ever.” Outside the theater, Lucas’s father, George Lucas Sr. (like Professor Henry Jones, Lucas, too, was a junior) was beaming as he shook hands with everyone who passed by. “Thank you,” he said proudly, “thank you very much for helping out George!”

As the crowd filtered out, editor Paul Hirsch sidled up to Lucas, trying to determine Lucas’s own reaction to the audience response.

“Well,” Lucas told Hirsch wryly, “I guess we won’t have to change anything after all.”

Two Weeks To Go…

. . . until publication of George Lucas: A Life.  I got mine from my editor the other week (and it’s a beaut); there’s still plenty of time for you to pre-order yours. (Click here to order from the bookseller of your choice.)

Many Bothans died to bring you this message.

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Today’s Mail

A box of these showed up on our doorstep this morning — it’s advance reading copies of George Lucas: A Life. And boy do I still love that cover.

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What I Told You Was NOT True, Not Even From a Certain Point of View.

My bad: the publication date for George Lucas: A Life is actually Tuesday, December 6, and NOT Friday, December 16, as I reported earlier.*  (And here I was being SO smug about coming out the same day as Rogue One: A Star Wars Story. Which looks doggone cool.)

I should also note that while the current listing says the book will be 320 pages, I’m guessing that, given the current length of the manuscript, the final book will be longer than that. Which is probably why it’s got a thirty dollar price tag.

Oh, and did I tell you? George Lucas is now available to pre-order from several booksellers. And with the corrected pub date, you now know it’ll arrive in plenty of time for Christmas.

Click here to pre-order from Amazon.
Click here to pre-order from Barnes & Noble. (Nook only at the moment).
(I’ll update this information for Indiebound, once it’s available)

* Serendipitously, perhaps, December 6 was the pub date for  A History of New York, the first book published by Washington Irving in 1809.

George Lucas Is Covered.

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Nice, huh?

Apparently, this has been up on the Hachette Books page for a bit, but I checked anyway to make certain it was okay for me to share this with you. I’ve actually had it for several months now, and I’ve been dying to show it to you, I think it’s so terrific.

I should also offer the caveat that there may still be some minor tweaks made to the cover as we get closer to the publication date — which as of this morning is now Friday, December 16, 2016. 

It’s not available to pre-order just yet, but should be soon.  I’ll let you know the moment I hear.

Stay on Target…

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Whew.

Late last night (or early this morning, whatever you want to call 12:04 a.m.) I completed the first draft of George Lucas: A Life.  It’s in the hands of John Parsley, my ace editor at Little, Brown, at this very moment.

The vital stats, you ask? It came in at just under 175,000 words–that includes the bibliography and endnotes–and took up 569 double-spaced pages.  How many pages of an actual book is that? Ya got me. (For reference: the first draft of Jim Henson came in at 700 pages, and eventually ended up as a 608-page hardback.  Out of the gate, George Lucas is already shorter than that. And there’s probably a height joke in there, but I’m not gonna make it . . .)

Technically, the draft was completed around 7:00 this morning, as that’s when I had Barb sit down at the desk and type the final period at the end of the last word. She’s definitely earned the right to be the one to finally blast this one into the net.

The fine folks at Little, Brown are still working hard to have this thing in your hands by Christmas of this year. If all goes as planned, it’ll be out December 10, 2016.

And now, I’m off to Tosche Station to pick up some power converters.

There Is Another.

A reviewer for The Washington Post once remarked that when it comes to choosing biographical subjects, I seemed to have a fondness for “slightly off-center American geniuses.” I liked that a lot, and I have to say that’s actually very true. And if I had to get even more specific, I’d say my particular proclivity — at least at the moment — would seem to be for Enigmatic American Pop Culture Icons. Once you’ve done Washington Irving and Jim Henson, then, I think the next one should be obvious.

With that in mind, then, I’m thrilled to finally Officially Announce The Subject of My Next Book:

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C’mon, I don’t really have to tell you who that is, do I?

It’s George Lucas. And if I hit all my marks, you should have it in your hands in the Spring of 2016.