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Tag: George Lucas

  • ‘Star Wars’ and ‘Indiana Jones’ rarities are in Lawrence Kasdan’s university archive

    ANN ARBOR, Mich. (AP) — Researchers, documentary filmmakers and others will soon be able to get their hands on screenwriter and director Lawrence Kasdan’s papers at his alma mater, the University of Michigan.

    Archivists are about a quarter of the way through cataloging the 150-plus boxes of material that document the 76-year-old filmmaker’s role in bringing to life iconic characters like Indiana Jones and Yoda, and directing actors ranging from Geena Davis and Glenn Close to Morgan Freeman and Kevin Costner.

    “All I wanted to ever do was be a movie director. And so, all the details meant something to me,” Kasdan said in an interview with The Associated Press. “I couldn’t be happier to have this mass of stuff available to anybody who is interested.”

    The archive includes scripts, call sheets and still photos — including a few rarities.

    Before Costner became an Oscar winner and Hollywood icon, he worked various studio jobs while taking nighttime drama lessons. His break — or so he thought — came when Kasdan cast him in 1983’s “The Big Chill.”

    Costner played Alex, whose death brings his fellow Michigan alums together. Unfortunately his big flashback scene ended up on the cutting-room floor.

    What are believed to be among the only existing photographs of the famously deleted scene are part of the Kasdan collection, now housed in Ann Arbor.

    “Different people will be interested in different things,” Kasdan said, pointing to his work writing the “Raiders of the Lost Ark” screenplay as one possible destination for researchers. The archive features audio cassette recordings of Kasdan discussing the film with Steven Spielberg and George Lucas. It also includes Polaroids taken of cast and crew members on the sets of his movies.

    There are props, too, including a cowboy hat from the 1985 Western “Silverado,” worn by none other than Costner. Kasdan and the kid from California would work together again on “Wyatt Earp” in the ’90s. Costner also starred in “The Bodyguard,” which Kasdan wrote.

    A number of unproduced scripts also are part of the collection.

    “I’ve always considered myself a director and a writer. And if you are really interested in any particular movie, you can follow the evolution of that movie in the archive,” Kasdan said.

    Library staff members are working chronologically through Kasdan’s material, meaning the papers for Kasdan’s earliest work — including “Body Heat” and “The Big Chill,” as well as the scripts for two “Star Wars” classics, “The Empire Strikes Back” and “Return of the Jedi” — can be accessed first.

    The remaining material should be completely processed by late 2026, said Phil Hallman, the curator of the collection. Hallman hopes to have Kasdan visit, perhaps next fall, to see the archive and take part in a symposium.

    Kasdan’s papers are part of the University of Michigan Library’s Screen Arts Mavericks and Makers Collection, which includes Orson Welles, Robert Altman, Jonathan Demme, Nancy Savoca and John Sayles. Kasdan, who grew up in West Virginia and earned a bachelor’s degree in 1970 and a master’s two years later, is the lone Michigan alum among the group.

    “To be there, held in the same place as those wonderful directors, is really a great honor,” Kasdan said.

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  • George Lucas Knows You Freaks Want Some ‘Star Wars’ at His Big New Museum

    The Lucas Museum of Narrative Art is not a Star Wars museum. George Lucas is adamant about that. But imagine the riots if the state-of-the-art showplace opened and contained not one scrap of the galaxy far, far away? Even Palpatine wouldn’t dare pull a troll on that level, and Lucas himself is very aware of the optics.

    In a new interview the Wall Street Journal conducted with Lucas and his wife and collaborator Mellody Hobson, the outlet described the Lucas Museum as spotlighting “a sprawling lineage of artists that the filmmaker feels deep kinship with, from Stone Age cave painters to masters of futuristic fantasy,” including “a collection Lucas started 60 years ago with the comic art he could afford in college. Among the 40,000-plus pieces are 160 works by Norman Rockwell, whose vignettes of American life are the epitome of narrative art for Lucas.”

    The galleries are arranged “around themes like family, love, work, and play, with artworks that explore the myths and stories that bind society.”

    Like, say, the stories of Star Wars, which have certainly united (and just as often divided) fans for decades?

    After noting that Lucas is the museum’s curator (“Earlier this year, the experienced museum director who’d been hired to oversee curation stepped down after Lucas opted to do the job himself”), the WSJ reported that “one inaugural exhibit will feature the designs of Star Wars vehicles.”

    Yep, just the one so far. We did know there’d be a Naboo Starfighter on hand, among other Lucas-adjacent pop culture items—but apparently, we’re lucky to be getting any Star Wars at all.

    “It’s one gallery out of 33. And I did it grudgingly,” Lucas explained.

    And that’s because he’s no dummy: “I didn’t want people to come to the museum and say, ‘Where’s the Star Wars?’”

    You can learn more about the Lucas Museum of Narrative Art at its official website, which does not yet list a specific opening date other than 2026.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Cheryl Eddy

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  • Why One of the Greatest ‘Star Wars’ Novels Ever Made Was Written Like a Greek Tragedy

    When it came to penning the novelization of Star Wars Episode III: Revenge of the Sith, the planning all came before the aftermath of the film’s eventual polarizing release. And by chance, Matthew Stover’s version of the events of the film ended up being one of the saving graces of George Lucas’ closing chapter in his saga, at least to the old guard of fanboys. We all know that the generation who grew up on it and the animated shows ended up being more embracing of the maker’s final contributions to the Star Wars universe.

    In an exclusive with Entertainment Weekly, Stover shared his new author’s note, now added to the book’s 20th anniversary re-release. In it he discusses his unique approach to writing the film as a novel with George’s Lucas’ blessing and inspiration from Greek myths.

    What sets the book apart from the film is that it allowed Stover to expand on Anakin’s perspective during his fall from the light side. And it’s something that made him nervous from the start. “It had come to me during the panic attack I’d suffered after signing the contract to write this novelization, which had ignited because I’d foolishly committed to write the keystone in the arch of the Skywalker saga for the biggest audience of my career—and the entire Star Wars-loving universe would be hoping for a thrilling space opera, despite the plain fact that every main plot point had been spoiled for decades.”

    Stover continued, “Add the challenge of writing a novelization without ever seeing the final movie, because the movie wasn’t done and wouldn’t be out before the book went to the printer. I would be armed with only the script and the collective Lucasfilm knowledge of Star Wars. What saved me then was my early training,” he explained, describing how the guardrails of classic theater mythology came in handy for the writer.

    “More than 20 years before I signed that contract, I’d had the good fortune to study theater history under a professor who was an authority on ancient Greek drama. Every single one of the great Greek tragedians had faced exactly my trouble—their audience knew the story going in—and they had some tricks they would pull to make their plays dramatic anyway. I figured I could steal a couple of these for this book.”

    “The more I thought about Greek tragedy, the better it seemed to fit. The classical tragedies were drawn from Greek mythology and legend, right? Also—if I needed any further excuse—ancient Greek tragedies were traditionally performed as single acts without intermissions, like modern movies, and they were usually presented in actual, no kidding, wait for it . . . trilogies.”

    © Penguin Random House

    “I hoped to present the story explicitly as a tragic myth, with language and style more formalized and darker in tone than people generally expect from Star Wars fiction. After all, I intended to argue that this story is special. It’s different from any other Star Wars story—not only because it’s the final film (or so we thought at the time), but because this story is the true foundation that underlies all the rest, and it should feel different from the very first page.”

    Additionally, his approach would be informed by how myth served as a template for so much Star Wars media to begin with within its Expanded Universe (before getting decanonized). “But evoking the Greek tragedies was only part of my idea, and I expected that part to be an easy lift, for the reasons I sketched above. The rest, however, was gnawing holes in my stomach lining, because I wanted to fold in elements of the larger Star Wars Expanded Universe (EU).”

    “I desperately needed EU material to make this story work. Not because the EU had been part of my life ever since Splinter of the Mind’s Eye, and definitely not because it’d be extremely cool to incorporate elements of those stories into this novelization … I genuinely believed that I needed the EU to make this story work as a novel. It would give the story heft and texture. It would let me touch on where these people come from and where most of them are going to end up, and it would let me weave this specific narrative and its implications into the wider ‘historical’ context of the whole galaxy far, far away.”

    The best anecdote of the note was how all of this work, how he’d gone out of his way to plan and pitch to George Lucas, was met with a surprising answer when he asked the living legend how much he should stick to the script. Lucas liberated him from perceiving the movie script as a constraint. “Don’t worry about that stuff. As long as you don’t violate the story, do whatever you want,” Lucas said to Stover. “Just make it good.”

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Sabina Graves

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  • A New Graphic Novel Will Chronicle How ‘Star Wars’ Got Made

    For anyone who wants to read about the history of the original Star Wars, a new graphic novel is coming.

    That would be Lucas Wars, the newly translated version of a story originally published in 2023 by French journalist Laurent Hopman and illustrator Renaud Roche. The graphic novel tells of George Lucas’ decade-long journey to get the classic sci-fi film made, starting from him surviving a car accident to his journey through film school and clashes with 20th Century Fox. In an email to the Hollywood Reporter, Hopman explained only “the bare minimum of liberties” were taken here, which should appease anyone like him who get annoyed when that happens in biopics.

    “Every time a reader asks themselves, ‘Did this really happen?’ the answer is yes,” he continued. “My role was … to decide how to stage [the facts], to bring certain moments into the spotlight more than others, in order to build a gripping story—but without inventing anything, without changing the chronology, without creating conflicts or drama out of thin air.”

    Disney’s Star Wars comics have art that keeps the original trilogy characters as close to their live-action versions as possible, for better and worse. If that turns you off, you’ll be pleased to hear Lucas Wars doesn’t have to deal with that, and Lopman highlighted Roche’s talent to “stylize his characters so they’re both highly recognizable and highly expressive.” Roche told THR the most trouble he had when drawing people actually came from the late Carrie Fisher—her hair, makeup, and lighting in reference photos mean her look “changes a lot,” to the point he felt like he was looking at two completely different people.

    You can see for yourself in the excerpt above highlighting the casting process and pick up Lucas Wars when its hardcover releases September 16.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Justin Carter

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  • Darth Vader’s Lightsaber Auction Sale Sets Record for ‘Star Wars’ Item

    A lucky Star Wars fan is embracing the dark side, as Darth Vader’s lightsaber from the franchise’s initial trilogy has sold at auction for an astronomical sum.

    The iconic character’s screen-matched primary dueling lightsaber that was used in the films The Empire Strikes Back and Return of the Jedi sold for $3,654,000 when it hit the block from Propstore in Los Angeles on Thursday, becoming the highest-valued piece from the Star Wars franchise ever up for auction. The winning bid came in at a franchise record of $2,900,000 and reached the final total with the additional buyer’s premium that is paid to the auction house.

    Star Wars actor David Prowse and stunt double Bob Anderson both held the item onscreen. It carried a presale value estimate ranging from $1 million to $3 million.

    This is said to be the only hero lightsaber from the original Star Wars trilogy to ever hit an auction. The Entertainment Memorabilia Live Auction coincides with this year marking the 45th anniversary of the release of The Empire Strikes Back.

    Darth Vader’s lightsaber was sold at auction from Propstore.

    Courtesy of Propstore

    The Star Wars buying force was strong with the auction, as Anakin Skywalker’s stunt dueling lightsaber for Hayden Christensen’s character from the prequels went for $126,000, with the buyer’s premium. This was nearly twice the presale estimate.

    Among the other items sold during the auction included Indiana Jones’ bullwhip and belt that Harrison Ford used in Steven Spielberg’s Indiana Jones and the Last Crusade, with the pair selling for $475,650. Also, Jean-Luc Picard’s Ressikan flute, which belonged to Patrick Stewart’s Star Trek: The Next Generation character, went for $403,200.

    Additionally, Rick Dalton’s flamethrower tank and backpack, as Leonardo DiCaprio wore in Once Upon a Time in Hollywood, sold for $346,500.

    Earlier this summer, The Hollywood Reporter reported exclusively that Darth Vader’s lightsaber would be hitting the auction block.

    “Surviving genuine lightsaber props from the original trilogy of films are exceedingly rare, and Propstore is honored to present this historic artifact in our September sale,” Propstore COO Brandon Alinger said in a previous statement. “It is a grail-level piece, worthy of the finest collections in the world.”

    In-person bidding took place at L.A.’s Petersen Automotive Museum on Thursday. Items will continue to be sold via online, telephone and absentee bidding as the auction continues through Saturday.

    Back in 2022, Propstore sold a screen-matched model miniature X-wing fighter that is 22 inches long and was created for director George Lucas‘ original Star Wars film. The item went for more than $2.3 million.

    Ryan Gajewski

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  • James Earl Jones, iconic voice of Darth Vader in ‘Star Wars’ and Mufasa in ‘The Lion King,’ dead at 93

    James Earl Jones, iconic voice of Darth Vader in ‘Star Wars’ and Mufasa in ‘The Lion King,’ dead at 93

    (CNN) — You can’t think of James Earl Jones without hearing his voice.

    That booming basso profundo, conveying instant dignity or menace, was Jones’ signature instrument. It brought power to all his stage and movie roles, most indelibly as Darth Vader in “Star Wars,” Mufasa in “The Lion King and as the voice of CNN.

    That remarkable voice is just one of many things the world will miss about the beloved actor, who died Monday, according to his agent. He was 93.

    Jones was with family when he died, according to his representative. No cause of death was shared.

    Jones had a distinguished career that spanned some 60 years and took him from a small-town theater in northern Michigan to the highest reaches of Hollywood, where he appeared in dozens of movies and TV series.

    Voicing Darth Vader

    In the mid-1970s “Star Wars” creator George Lucas cast towering British actor David Prowse as the guy inside Darth Vader’s black suit, but decided he wanted someone else to voice the character.

    “George thought he wanted a – pardon the expression – darker voice,” Jones once told the American Film Institute. “I lucked out.”

    Back then nobody imagined “Star Wars” would become a blockbuster, let alone an enduring franchise and cultural phenomenon. Jones recorded all his lines in a few hours and was not listed in the film’s credits. He said he was paid just $7,000 for the movie, “and I thought that was good money.”

    The actor and Lucas had disagreements about how he should voice the villainous Vader.

    “I wanted to make Darth Vader more interesting, more subtle, more psychologically oriented,” Jones said. “He (Lucas) said, ‘No, no … you’ve got to keep his voice on a very narrow band of inflection, ‘cause he ain’t human.”

    Darth Vader’s climactic duel with Luke Skywalker in 1980’s “The Empire Strikes Back” became a dramatic high point in the “Star Wars” series – punctuated by Jones’ delivery of one of the most famous lines in movie history: “No, I am your father!

    Jones said that almost two decades later, when he was voicing the dignified Mufasa for Disney’s animated “The Lion King,” it took him a while to strike the right tone.

    “My first mistake was to try and make him regal,” Jones said of the 1994 film.  “And what they really needed was something more like me. “They said, ‘What are you like as a father?’ and I said, ‘Well, I’m really a dopey dad.’

    “And so they began to impose my facial expressions onto Mufasa, and a different tone of voice. Yeah, he was authoritative, but he was just a gentle dad.”

    A prolific career

    Jones was born in 1931 in Mississippi. His father, Robert Earl Jones, left the family before James was born to become an actor in New York and Hollywood, working with playwright Langston Hughes and eventually earning supporting roles in hit movies including “The Sting.”

    Jones’ family moved from Mississippi to Michigan when he was 5, a traumatic upheaval that caused him to develop a stutter. His fear of speaking rendered him almost mute until he got to high school, where a poetry teacher helped him overcome his disability by encouraging him to read his poems aloud.

    “He began to challenge me, to nudge me toward speaking again … toward acknowledging and appreciating the beauty of words,” Jones said.

    Jones studied drama at the University of Michigan, served as an Army Ranger and then moved to New York, where he soon landed lead roles in Shakespearean stage productions. He made his film debut in 1964 as a bombardier in Stanley Kubrick’s “Dr. Strangelove.”

    In 1967 Jones was cast as troubled boxer Jack Johnson in a theatrical production of “The Great White Hope,” a career-changing role that won him a Tony. He reprised the role three years later in the film adaptation, becoming only the second African American man, after Sidney Poitier, to be nominated for an Academy Award.

    By the mid-1970s Jones was working steadily in movies and TV – a prolific run that never slowed. Over the next five decades he appeared in many memorable roles: As Alex Haley in TV’s “Roots:The Next Generations,” warlord Thulsa Doom in “Conan the Barbarian,” an African king in “Coming to America,” Kevin Costner’s reluctant recruit in “Field of Dreams,” Admiral Greer in “The Hunt for Red October” and “Patriot Games” and a South African preacher in “Cry, the Beloved Country.”

    The power of speech

    In 2019 he again voiced Mufasa in Disney’s remake of “The Lion King,” becoming the only cast member to reprise his role from the first film.

    Over the years he also guest-starred in dozens of TV series, from “L.A. Law” to “Sesame Street,” appeared regularly on the stage and lent his deep, rumbling voice to everything from “The Simpsons” to a popular audio recording of the King James version of the Bible.

    Jones said people in public sometimes didn’t recognize him until they heard his voice.

    “When you don’t talk it’s like going ninja,” he told Rachael Ray in 2016. “You get in the taxi and say where you’re going and the guy turns around and says, ‘Hey, aren’t you that Darth Vader guy?’”

    Over his long and prolific career Jones won three Tonys, two Emmys, a Grammy, a Golden Globe and numerous other awards. He also lent his voice to CNN’s tagline, “This is CNN,” complete with a dramatic pause after “This …”

    “It wasn’t acting. It was language. It was speech,” he said when asked what aroused his passion for acting. “It was the thing that I’d … denied myself all those years (as a boy). I now had a great — an abnormal — appreciation for it.

    “And it was the idea that you can do a play — like a Shakespeare play, or any well-written play, Arthur Miller, whatever — and say things you could never imagine saying, never imagine thinking in your own life,” he told the Academy of Achievement in 1996.

    “You could say these things! That’s what it’s still about, whether it’s the movies or TV or what. That what it’s still about.”

    CNN

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  • Princess Leia bikini costume from set of ‘Star Wars’ movie sells at auction for $175K

    Princess Leia bikini costume from set of ‘Star Wars’ movie sells at auction for $175K

    HOUSTON (AP) — The gold bikini-style costume that Carrie Fisher wore as Princess Leia while making “Return of the Jedi” in the “Star Wars” franchise has sold for $175,000, according to the auction house that handled the sale.

    The costume was made famous when Fisher wore it at the start of the 1983 film when Leia was captured by Jabba the Hutt at his palace on Tatooine and forced to be a slave.

    The costume, one of the most memorable in the “ Star Wars ” movies, was sold on Friday by Dallas-based Heritage Auctions.

    Joe Maddalena, Heritage’s executive vice president, said the costume that was sold was one that was screen tested and worn by Fisher on the movie’s set but ultimately did not make it onto the final version of the film as it was switched out for one that was more comfortable.

    The auction house said the costume sparked a bidding war among collectors.

    Maddalena said he wasn’t surprised by the attention bidders gave to the costume as well as to a model of a Y-wing fighter that took on the Death Star in the original “Star Wars” film that sold for $1.55 million. He said “Star Wars” and “Star Trek” have very avid fan bases.

    “The power of ‘Star Wars’ proves itself again. These movies are just so impactful,” Maddalena said.

    In a November 2016 interview with NPR’s “Fresh Air,” Fisher said wearing the costume was not her choice.

    “When (director George Lucas) showed me the outfit, I thought he was kidding and it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight,” said Fisher, who died about a month after the interview.

    Richard Miller, who created the costume, said in an interview that’s included in a “Star Wars” box set that he used soft material to build the costume so that Fisher could move around more freely.

    “However, she still didn’t like it. I don’t blame her,” said Miller, who was the chief sculptor for Industrial Light & Magic, the visual effects company founded by “Star Wars” creator George Lucas. “I did put leather on the back of it to help it feel better.”

    The costume had its share of critics, who thought it sexualized Fisher for the franchise’s male fan base.

    In “Interview” magazine in 2015, Fisher told actor Daisy Ridley, who starred in “Star Wars: The Force Awakens,” “You’re going to have people have fantasies about you. That will make you uncomfortable, I’m guessing.” She pushed back against the idea of being a sex symbol and told Ridley to “fight for your outfit.”

    ___

    Follow Juan A. Lozano on X: https://twitter.com/juanlozano70

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  • George Lucas Is Being Cranky at Cannes

    George Lucas Is Being Cranky at Cannes

    And, no, he will not re-releasing his original versions of the first Star Wars trilogy anytime soon, thank you.
    Photo: Sameer Al-Doumy/AFP via Getty Images

    Sorry, fellow nerds, George Lucas has no intentions of releasing the original versions of the first Star Wars trilogy on home video anytime soon. When asked about it during a lengthy on-stage interview at the Cannes Film Festival, Lucas noted that they’d already been released on laserdisc and that everyone at the time said they looked terrible. (I can confirm this, but they looked awful because of the shoddy video mastering, not the actual source material.) He also insisted that the special effects on the original films were incomplete — “movies get abandoned, they don’t get finished” he said, echoing Leonardo Da Vinci — and that part of his reasons for restoring, revising, and adding new VFX to them in the late 1990s was because he wanted to complete them the way he saw them. “I’m a firm believer that the director or the writer or the filmmaker should have a right to have his movie be the way he wants it,” he added, sounding slightly more annoyed than usual.

    None of this is news, of course. And Lucas’s wide-ranging chat at Cannes didn’t exactly offer any revelations. Rather, it was a chance for the packed audience to sit in the presence of the man who made Star Wars for 90 minutes. (The wild standing ovation he received beforehand, complete with several rounds of boisterous cheers, confirmed this fact; it was by far the most enthusiastic applause I’ve heard at the festival this year.) And the avuncular, soft-spoken Lucas was very much in character in his now-iconic leisurewear of checkered untucked shirt, loose and comfy pants, and big sneakers that look like well-used pillows. None of which should come as a surprise, but at a festival where security might tase you for wearing the wrong-colored bowtie on the red carpet, it was certainly notable. We’ll see if Monsieur Lucas will don the obligatory tuxedo for the festival’s closing ceremony tomorrow night, where he’s due to receive an honorary Palme.

    It’s always fun listening to Lucas recount his remarkable road to success and how he managed to maintain and build on that success. He’s always so matter of fact about it. “We were never interested in making money,” he said at the start of the conversation, talking about how New Hollywood filmmakers such as himself, his mentor Francis Ford Coppola, Steven Spielberg, Martin Scorsese, and others managed to revolutionize the American movie industry. “We just wanted to make movies.” He then spent a good part of his 90-minute chat talking about money.

    Not in a bad way, though. Lucas revolutionized licensing and merchandising on the first Star Wars, and he recounted how that was one of the keys to the film’s success. “Licensing in those days did not exist because it took longer to build a toy than it did to make a movie,” he recalled. He said that he spent the two years before the movie’s release going to Star Trek and comic book conventions with Star Wars posters and T-shirts, building up interest in the film among a core audience of genre devotees. When the film finally opened in 1977, its struggling studio, 20th Century Fox only released it in 32 theaters, because its board of directors hated it. When the lines started going around the block, they expanded it to more than a thousand screens, an unprecedented number for that time.

    Lucas expounded to the audience at length about the difference between net profits and gross profits (in short: net profits, which only kick in after shady studio accountants deduct all sorts of real and imaginary costs, are useless, while gross profits are where you make real money), and about how he managed to finagle gross profits on Star Wars after only getting net profits on American Graffiti. He also discussed how he managed to secure sequel rights to the first Star Wars because his original script was so long and he’d cut most of it out. He also knew that the studio’s initial contempt for the film, coupled with the fact that Fox was about to be sold anyway, meant that they didn’t care about the sequel rights.

    Lucas also talked at length about his friendship with fellow Cannes attendee Francis Ford Coppola, who transformed his career at several points in their early years. It was Coppola who suggested that Lucas stick with him during the making of Finian’s Rainbow (1968), at a time when Lucas had decided he was bored with being on film sets and intended to try his hand at animation instead. Later, Lucas joined Coppola on the tiny crew for his low-budget road movie The Rain People (1969), as they traveled across the country improvising locations and scenes. (Lucas didn’t discuss the excellent short documentary about Coppola that he made during this time, called Filmmaker: A Diary, but you should check it out if you haven’t.) At the end of that shoot, Lucas told Coppola he intended to go back to San Francisco and make short experimental films. Coppola told him to write a feature length script instead, which he promised to produce.

    That 1971 debut feature, the Robert Duvall-starring THX-1138, actually played at Cannes, in the Director’s Fortnight sidebar. The studio wouldn’t pay his way to France, so Lucas and his sound editor Walter Murch (who was also present during his Cannes talk this year) pooled their money and went to Cannes on their own, where they had to buy tickets to see their own movie. Lucas recalled that some years later, a reporter at Cannes asked him why he skipped the press conference for THX-1138. “We didn’t know there was a press conference!” Lucas exclaimed.

    After THX-1138 failed to recoup its cost, the studio asked for its money back. Desperate for funds, Coppola took on the job of directing The Godfather. When Lucas asked how he could help, Coppola suggested he write a comedy. “If you want to make a movie, don’t make one of these artsy sci-fi whatever,” he recalled Coppola saying. “I dare you to make a comedy.” Which is how Lucas came to write American Graffiti, whose incredible success gave him the clout to make Star Wars.

    Lucas recounted that after Universal executives first saw American Graffiti at a preview screening, they hated it. The screening was packed, and the audience had loved the film, but he recalled Lew Wasserman, the head of the studio, coming to him and Coppola after the screening and telling them they should be ashamed of the film. “Francis got very mad at him,” he said, “and we were having this big fight in the back of the theater. Francis said, ‘How dare you? This kid almost killed himself making this movie, shooting it in 28 days and nights. How dare you at least not say it was an interesting movie?’”

    Afterwards, Lucas and Coppola slowly started having more preview screenings, always with a packed, receptive crowd, slowly making their way back to the film division executives, who eventually changed their minds. American Graffiti would go on to become the third highest grossing release of 1973, and, given its low budget, probably one of the most profitable pictures of all time. It set Lucas up to make Star Wars on his own terms. And then keep making it, sequel after sequel.

    “But that was Hollywood then,” Lucas said. “I’ve been retired for 10 years. I’m not sure what it’s like now.”


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    Bilge Ebiri

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  • All the Best Red Carpet Fashion from the 2024 Cannes Film Festival

    All the Best Red Carpet Fashion from the 2024 Cannes Film Festival

    Eva Green. Getty Images

    It’s time for one of the most glamorous events of the year—the Cannes Film Festival. Every May, filmmakers, producers, directors, actors and other A-listers make their way to the French Riviera for 12 days of movie screenings, parties and, of course, plenty of glitzy red carpets and exciting fashion moments on La Croisette.

    The Cannes Film Festival is surely one of the most exciting red carpets of the season; it’s a solid 12 days of fashionable celebrities bringing their sartorial best to the resort town in the South of France, and attendees never fail to go all out with their ensembles. The Cannes red carpet has already given the world some truly iconic fashion moments, from Princess Diana’s baby blue Catherine Walker gown and Jane Birkin’s sequins and wicker basket ensemble to Madonna’s Jean Paul Gaultier cone bra and Anne Hathaway’s white Armani Privé frock, and the 2024 iteration of the film festival is sure to add even more to the list.

    The 77th annual Cannes Film Festival is already sure to be an especially star-filled extravaganza; Greta Gerwig is serving as the jury president for the main competition, and the three Honorary Palme d’Or awards will be given to Meryl Streep, Studio Ghibli and George Lucas. The star-studded film line-up of highly anticipated movies includes Francis Ford Coppola’s Megalopolis (starring Adam Driver), Yorgos LanthimosKinds of Kindness (with Emma Stone, Jesse Plemons and Willem Dafoe), Paul Schrader’s Oh, Canada (with Richard Gere, Uma Thurman, Michael Imperioli and Jacob Elordi), Andrea Arnold’s Bird (with Barry Keoghan) and so many more.

    The 2024 Cannes Film Festival runs from May 14 to May 25, and we’re keeping you updated on all the best red carpet moments throughout the entire spectacle. Below, see the best-dressed looks from the Cannes Film Festival red carpet.

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Meryl Streep. WireImage

    Meryl Streep

    in Dior 

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Eva Green. Getty Images

    Eva Green

    in Armani Privé

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Greta Gerwig. WireImage

    Greta Gerwig

    in Saint Laurent

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Léa Seydoux. WireImage

    Léa Seydoux

    in Louis Vuitton

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Taylor Hill. WireImage

    Taylor Hill

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Helena Christensen. WireImage

    Helena Christensen

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Heidi Klum. WireImage

    Heidi Klum

    in Saiid Kobeisy

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Lily Gladstone. WireImage

    Lily Gladstone

    in Gucci

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Romee Strijd. Corbis via Getty Images

    Romee Strijd

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Jane Fonda. Getty Images

    Jane Fonda

    in Elie Saab

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Juliette Binoche. WireImage

    Juliette Binoche

    All the Best Red Carpet Fashion from the 2024 Cannes Film Festival

    Morgan Halberg

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  • Disney Board Holds Off ‘Activist Investor’ Nelson Peltz

    Disney Board Holds Off ‘Activist Investor’ Nelson Peltz

    Mickey Mouse and Minnie Mouse at the Disneyland Hotel reopening celebration at Disneyland Paris on February 3, 2024.
    Photo: Kristy Sparow (Getty Images)

    The atmosphere at Disney’s corporate offices must feel slightly lighter these days, between Disney World’s recent detente with Florida Gov. Ron DeSantis, and news today that shareholders have voted against billionaire “activist investor” Nelson Peltz’s attempt to snag two seats on the company’s board.

    As io9 previously explained, a behind-the-scenes situation that probably wouldn’t interest the average Disney fan suddenly became more headline-worthy when Peltz gave an interview to the Financial Times in which he complained about diversity in recent Disney Marvel projects, including last year’s The Marvels and the Oscar-winning smash hit Black Panther. “Why do I have to have a Marvel [movie] that’s all women?” the 81-year-old asked. “Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?” Not only was this attitude off-putting to fans, it also rubbed high-profile Disney shareholders the wrong way—including Star Wars creator George Lucas, who spoke out against Peltz’ proxy fight.

    As the Hollywood Reporter updates, today’s annual shareholder meeting proved to be “a win for the Walt Disney Co. and CEO Bob Iger” as all of the company’s director nominees “have been elected by shareholders, rebuffing the activist investor Nelson Peltz, who had been running a high-profile campaign to put himself and former Disney CFO Jay Rasulo on the company’s board.”

    Sources cited by the trade make it sound like the voting wasn’t exactly close, coming out decisively in favor of Team Iger. THR also has a statement from Iger, who sounds ready to put the Peltz situation in Disney’s rear-view mirror as quickly as possible: “I want to thank our shareholders for their trust and confidence in our Board and management. With the distracting proxy contest now behind us, we’re eager to focus 100% of our attention on our most important priorities: growth and value creation for our shareholders and creative excellence for our consumers.”


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Cheryl Eddy

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  • Who the Hell Is Nelson Peltz, the Billionaire Investor Disney Is Freaking Out About?

    Who the Hell Is Nelson Peltz, the Billionaire Investor Disney Is Freaking Out About?

    So-called activist investor Nelson Peltz, who’s aiming to win two Disney board seats, has stirred up some controversy by calling out Disney’s recent era of “woke” strategy through diversifying its slate of films at Marvel Studios.

    The 81-year-old businessman, whose experience is with food companies including Wendy’s and H.J. Heinz as well as having once supported the DeSantis presidential campaign, had a lot to say about The Marvels and Black Panther in an interview with the Financial Times. “Why do I have to have a Marvel [movie] that’s all women?” Peltz asked the publication. “Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?” Side note: Peltz happens to be the father of Nicola Peltz, who played Katara in 2010’s infamously very white Last Airbender adaptation.

    He continued, “People go to watch a movie or a show to be entertained. They don’t go to get a message.” Since he also claimed that he doesn’t have experience in media, it’s interesting to note that Peltz’s Trian Partners is pushing for this vote as part of Ike Perlmutter’s hopes for retaliation against Disney CEO Bob Iger, who terminated him from Marvel Entertainment last year. Variety reported that, “Trian controls roughly $3.5 billion worth of Disney stock, 79% of which is owned by Perlmutter.” This goes back to Perlmutter’s feud with Kevin Feige, who pushed for Black Panther and Captain Marvel. Perlmutter fought against diversity in Marvel’s slate until Iger stepped in to force his hand and allow the films to be made.

    Ryan Coogler’s Black Panther, starring the late Chadwick Boseman, was a hit with $1.35 billion at the worldwide box office; it kicked off the Academy Award-winning franchise and brought more inclusivity to the Marvel Cinematic Universe. Proving Perlmutter wrong publicly while revealing the lengths the forner Marvel exec went to in order to stop diverse superhero toys, merch, and movies being made really propelled Feige into the public’s good graces. Recent misses for the studio including The Marvels have caused some Marvel watchers to wonder if Feige’s position should be called into question. When asked by the Financial Times if it should, Peltz responded, “I’m not ready to say that, but I question his record.”

    Disney board member George Lucas recently stood up against Peltz by releasing a statement (reprinted in Variety and elsewhere) to support Bob Iger in rejecting his bid. “Creating magic is not for amateurs,” Lucas said in a shot right at Peltz, who also admitted to the Financial Times he’s been a bit of a bully. (“What sense is being a billionaire if you’re not a bully?” Peltz has been quoted as saying.) Which is such a strange stance to bring into Disney, standing directly against all it represents.

    Lucas continued, “When I sold Lucasfilm just over a decade ago, I was delighted to become a Disney shareholder because of my longtime admiration for its iconic brand and Bob Iger’s leadership.” He added, “When Bob recently returned to the company during a difficult time, I was relieved. No one knows Disney better. I remain a significant shareholder because I have full faith and confidence in the power of Disney and Bob’s track record of driving long-term value. I have voted all of my shares for Disney’s 12 directors and urge other shareholders to do the same.”

    Peltz aims to add more board seats for his hedge fund firm through his Disney bid and support the agenda that Ike Perlmutter, his silent third party partner, has advocated for during his Disney tenure. The Hollywood Reporter disclosed that Perlmutter had this up his sleeve as soon as he was terminated, as he immediately pledged his stakes in Disney to Peltz. Before Iger came back Peltz had attempted a proxy battle with the company as a result of its losses, but was held off by his return. With this seat bid he hopes for round two in having more direct influence on the company board.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Sabina Graves

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  • George Lucas backs Disney CEO Bob Iger in proxy fight with Nelson Peltz

    George Lucas backs Disney CEO Bob Iger in proxy fight with Nelson Peltz

    Filmmaker and Hollywood legend George Lucas is throwing his support behind Walt Disney CEO Bob Iger in the bitter proxy battle between the company and activist investor Nelson Peltz.

    Lucas, who received 37.1 million Disney shares as part of Disney’s $4.05 billion purchase of Lucasfilm in 2012, is currently the largest individual investor in the company, multiple sources confirmed to CNBC.

    In a statement provided to CNBC, Lucas wrote:

    “Creating magic is not for amateurs. When I sold Lucasfilm just over a decade ago, I was delighted to become a Disney shareholder because of my long-time admiration for its iconic brand and Bob Iger’s leadership. When Bob recently returned to the company during a difficult time, I was relieved. No one knows Disney better. I remain a significant shareholder because I have full faith and confidence in the power of Disney and Bob’s track record of driving long-term value. I have voted all of my shares for Disney’s 12 directors and urge other shareholders to do the same.”

    Disney has lined up a number of high-profile endorsements in its battle against Peltz and his firm, Trian Fund Management, from the heirs of Walt and Roy Disney to JPMorgan Chase CEO Jamie Dimon.

    But the support from the Lucas endorsement is key, not only because of his role as Disney’s largest individual shareholder, but also because of his standing in Hollywood. Lucas wrote and created the “Star Wars” and “Indiana Jones” franchises, some of the most popular films in history, and he helped pioneer tools such as digital film editing and computer-generated imagery.

    Peltz has asked investors to nominate him and former Disney Chief Financial Officer Jay Rasulo to the board at its annual general meeting on April 3. Among other things, Peltz wants to overhaul Disney’s traditional TV channels, which he thinks have been a shrinking business.

    Iger, meanwhile, has been trying to streamline the sprawling media company to rein in spending and make its Disney+ streaming platform profitable. Iger has instituted broad restructuring, including thousands of layoffs.

    Don’t miss these stories from CNBC PRO:

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  • Viral Movie Posters of The Land Before Time Remake From Disney Are Totally Fake

    Viral Movie Posters of The Land Before Time Remake From Disney Are Totally Fake

    Fake movie posters for a remake of The Land Before Time, falsely billed as upcoming releases from Universal and Disney/Pixar respectively.
    Screenshot: Facebook / TikTok

    Movie posters appearing to show an upcoming remake of the children’s dinosaur movie The Land Before Time (1988) have elicited strong emotions on social media recently. But no matter if you think a remake is a bad idea or a good idea, the movie isn’t happening. At least not in the foreseeable future.

    The rumors about this fake dino-remake can likely be traced to a Facebook page called YODA BBY ABY, which first wrote about the potential movie in late 2023.

    “Get ready to embark on a prehistoric escapade like never before! Disney and Pixar join forces to bring you a dazzling remake of The Land Before Time, where Littlefoot and friends journey through lush landscapes and encounter enchanting surprises,” the fake post reads. “Brace yourself for a January 2025 release – a dino-mite adventure awaits!”

    But there’s no evidence that any remake of The Land Before Time is in production by Disney and Pixar, much less coming out in January 2025. Another viral claim suggests the movie is coming out in December 2024, but there’s no evidence for that either.

    The prospect of a remake has been incredibly polarizing, especially because people who loved the original movie took issue with the way the dinosaurs looked on these fake movie posters.

    “I hope this is some kind of sick joke that someone made, because that is not Little Foot,” on TikTok user commented last week.

    Other TikTok users said they were “disrespecting the spirit of Land Before Time” and “disrespecting Littlefoot” with the new character designs.

    While the original 1988 film, executive produced by George Lucas and Steven Spielberg, is the most beloved, there were actually 13 sequels. Only the 1988 version received a theatrical release though, with all of the follow-ups going straight to home video. The last in the series was released in 2016 and is titled Journey of the Brave.

    But if I’m Universal Pictures I’m looking at the strong opinions currently circulating online and seeing dollar signs in my eyes. If people have strong feelings about the film series, that certainly counts for something. Millennial nostalgia can be an extremely profitable enterprise as the generation enters middle age, whether it’s the 30th iteration of Mean Girls or our favorite animated dinosaurs. Get to work, movie execs.

    Matt Novak

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  • Man convinced George Lucas photobombed his old family photo

    Man convinced George Lucas photobombed his old family photo

    An eagle-eyed Star Wars fan has come to the realization that his family was very likely photobombed by George Lucas during a trip to Walt Disney World nearly 20 years ago.

    Mark Chase took to X, formerly Twitter, to share a photograph of his family posing for a picture at the world-famous Florida theme park in February 2005.

    He was 11 at the time. In the background, sitting down just to the right is a man who looks suspiciously like Lucas.

    A family photo featuring “George Lucas.” Mark Chase is convinced the ‘Star Wars’ creator photobombed his family.
    markvchase

    Chase and his family didn’t really pay much attention to the man in the backdrop until around a decade after the picture was first taken. Even then, they were initially convinced it was little more than a doppelganger.

    Though doppelgangers do exist, the chances of finding one remain slim at best. In fact, a 2015 study published by researchers from the University of Adelaide, Australia, put the probability at around one in a trillion.

    Chase told Newsweek: “We kind of joked that it looked like him, put the photos away and didn’t think about it again, until just recently when we decided to go to Google and see what we could find.”

    After a little Internet sleuthing, Chase discovered evidence that Lucas was at Disney World when they visited.

    According to an article published on the website wdwmagic.com, Lucas was indeed at Walt Disney World in February 2005, on a week-long vacation. As part of the trip, Lucas visited the “Jedi Mickey Mouse” at the Disney-MGM Studios.

    The visit came ahead of the release of Revenge of the Sith, the final film in his Star Wars prequel saga, which hit cinemas in May of that year.

    Chase said he was surprised how “shockingly easy” it was to find proof, with the website carrying several images of Lucas in similar attire to that of the man in the photo.

    Eager to find confirmation, Chase decided to share the picture to X, under the handle markvchase. At the time of writing, the post has been viewed 4.2 million times, earning 1,900 retweets and a glut of comments.

    Several fellow Star Wars fans were quick to spot signs the picture was indeed that of Lucas having found other pictures of him from the visit wearing the same belt, watch, and shoes.

    Some were left in disbelief at the idea of being photobombed by Lucas. “This can’t possibly be real,” one user wrote. Others felt sure it was. “It’s 100 percent him,” another X user said.

    A few were impressed to the point of being borderline jealous. “Dang that’s so freakin cool! I love that!,” one tweeted. Others, meanwhile, just decided to have fun with it. “That’s Elvis,” one user declared while another reflected that it was “Funny how sightings of George Lucas have the same vibes as sightings of Bigfoot.”

    The official Star Wars X account also acknowledged the sighting. Newsweek has reached out to a representative for Lucas to try and get confirmation.

    In the meantime, Chase has been blown away by the response to the tweet.

    “The discovery was pretty crazy,” he said. “The Internet seems to be running with it. They love a good mystery. Hopefully, the virality can get us some confirmation as to whether it really is him or not.”

    If you have a similar family dilemma, let us know via life@newsweek.com. We can ask experts for advice, and your story could be featured in Newsweek.