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Star Wars The Force Awakens Cast Poses for Vanity Fair's June Cover. One afternoon in March, at the offices of his Bad Robot production company, located in a nondescript two- story building on what passes for an industrial stretch of Santa Monica, the director J. Abrams was reviewing special- effects shots for his next film—known colloquially as “the hotly anticipated new Star Wars movie” and more formally as Star Wars: The Force Awakens. Abrams, a boyish 4.
Roger Guyett and Abrams’s longtime producing partner Bryan Burk. The group was teleconferencing with Industrial Light & Magic, the San Francisco–based effects company, as well as a second unit in London, with the artists and technicians represented on- screen by their works in progress and on the sound system by their disembodied voices. It was a session you might think would be tense, even fraught, given the stakes on this film, the first Star Wars movie in 1.
George Lucas, who three years ago sold his production company, Lucasfilm Ltd., along with all rights to Star Wars, to the Walt Disney Company—which means the new movie has an added burden of needing to relaunch the franchise in robust enough fashion to justify Lucasfilm’s $4- billion- and- change sticker cost. But if Abrams and his team were feeling any pressure, they were wearing it lightly. The director—whose credits include the TV shows Alias and Lost, which he created, and the last two Star Trek films—liked what he was seeing as the group ran through various shots, sequences, and concept art.
His enthusiasm and appreciation were infectious—not that he didn’t have notes. He suggested tweaks on a C. G. I. But his broader notes tended toward comments such as “That’s fucking awesome!” and. That’s genius!” There was only one effect he felt wasn’t really working—two separate shots, a close- up of an actor’s hand and a longer shot of his head and shoulders, which had been linked by a clever postproduction camera move that looked flawless to my untrained eyes—but even here he was effusive in his praise for the technical achievement, telling the London- based visual artist, “It was amazing you did this at all,” and then virtually apologized for rejecting it. I think it’s fair to say that Abrams and his team were having fun, and fun, if you are a fan of Star Wars, if Lucas’s original films fired your childhood imagination and fueled your childhood play, is exactly what you’d hope anyone working on a Star Wars movie would be having. The Force Awakens may yet turn out to be lousy, but moviegoers—and Disney shareholders—should be heartened that it is being made in an appropriately imaginative and playful spirit. Watch the Star Wars Cast on Set for Vanity Fair’s Cover Shoot.
They should also be heartened by the cast Abrams and Lucasfilm have assembled, which includes Harrison Ford, Carrie Fisher, and Mark Hamill, reprising their original Star Wars roles as Han Solo, Princess Leia, and Luke Skywalker for the first time in three decades, as well as an impressive list of young newcomers to the series, including Oscar Isaac, Adam Driver, Lupita Nyong’o, Andy Serkis, Daisy Ridley, John Boyega, and Domhnall Gleeson—plus Max von Sydow, imparting the same kind of old- school Euro- gravitas that Sir Alec Guinness lent the original. Anthony Daniels and Peter Mayhew will also be back, wreathed in metal and in mohair and yak fur respectively, as C- 3. PO and Chewbacca. The Force Awakens’s plot is being held under the usual wraps, as are other crucial details, including its budget. With a light pen, he drew a little squiggle on a sand dune.“I have a thought about putting Jar Jar Binks’s bones in the desert there,” he said. Everyone laughed. Settlers Ii Gold Edition Maps Credit.
Abrams laughed, too, but insisted, “I’m serious!” He pointed out that the shot zips by in a second, if that. But just in case, a primer: Luke is the hero of the first three Star Wars films—the original Star Wars, since retitled A New Hope, The Empire Strikes Back, and Return of the Jedi—released between 1. IV, V, and VI. In that last one, Luke and his rebel comrades defeat the evil Galactic Empire, and Luke redeems arch- villain Darth Vader, who, as we learned in a famous plot twist from The Empire Strikes Back, is really Luke’s father—a good guy named Anakin Skywalker before he turned into a bad guy. He is the hero, or antihero, of episodes I, II, and III, the prequels released between 1. The Phantom Menace, Attack of the Clones, and Revenge of the Sith, which together recount the rise of the Empire and the reasons Anakin became Darth Vader, or vice versa (as die- hard fans of the original trilogy may prefer to think of it, narrative chronology be damned).
Jar Jar Binks is peripheral to this family drama, but—and per Abrams’s brainstorm—he is inarguably the most reviled character in the Star Wars saga, a cartoonish, amphibian- like alien with a shuffling gait, prone to pratfalls and boggle- eyed reaction shots, and voiced in a patois with a Jamaican lilt, all of which prompted some critics to condemn the character as a racist stereotype. Introduced in The Phantom Menace, Jar Jar has come to symbolize what many fans see as the faults of the prequel trilogy: characters no one much cares about; a sense of humor geared toward the youngest conceivable audience members; an over- reliance on computer graphics; and story lines devoted to the kinds of convoluted political machinations which wouldn’t have been out of place in adaptations of I, Claudius or The Rise and Fall of the Third Reich, but which fit less snugly in films with characters like Jar Jar Binks.
Sometimes it was hard to know who George Lucas had made those films for, other than himself. On the wall next to it, taped up at Lucas’s behest, is a small printout of a British Internet poll in which Jar Jar was voted “the most annoying film character of all time,” beating out Mr. Bean, Ace Ventura, and—who knew?—Andie Mac.
Dowell’s heroine from Four Weddings and a Funeral.)A Long Time Ago . After 1. 0 years of haunted, pessimistic, even nihilistic hits such as Bonnie and Clyde, Easy Rider, The French Connection, The Godfather, Chinatown, One Flew over the Cuckoo’s Nest, Network, and Taxi Driver—films in which more often than not the heroes, such as they were, ended up compromised, defeated, or dead—there was something radical about a movie where the good guys win an unambiguous, bell- ringing victory, and receive medals in the final scene to boot. As Time put it in a big 1.
Lucas and Star Wars, “It was a weird idea to make a movie whose only purpose was to give pleasure.” According to the magazine, Lucas’s skeptical peers had urged him to make “a deep picture, one that had meaning, significance and recondite symbolism.” Ha- ha, those film snobs. But, ironically, as Lucas over the years grew to take his saga and perhaps himself more seriously—people have written book after book exploring his really pretty simple ideas about good and evil, mythology, archetypes, and blah blah blah—“recondite” is where he ended up; what was organic and maybe even intuitive in the first film was increasingly foregrounded, skeleton turned into exoskeleton.
A colorful array of galactic travelers, smugglers, and other assorted riffraff fill the main hall of pirate Maz Kanata’s castle. Photograph by Annie Leibovitz. Photograph by Annie Leibovitz. That was the backstory—the longer, real- life version of a Star Wars movie’s serial- style opening crawl—in 2. George Lucas, then 6.
Kathleen Kennedy into his company and sold it to Disney that October, stepping down while Kennedy stayed on as president. Whatever post- Lucasfilm projects he was looking forward to, including launching a museum devoted to narrative art and starting a new family—he married Mellody Hobson, president of a Chicago money- management firm, in June 2. Everest, later that year (he also has three adult children)—Lucas may have been motivated to sell in part by the sometimes harsh reactions to his more recent movies. The prequels made piles of money, but the griping about them rubbed him a bit raw. You just say, . There is even a 2. The People vs. George Lucas. Kennedy, 6. 1, has produced more than 6.
Steven Spielberg’s since Raiders of the Lost Ark, released in 1. She was a co- founder of Amblin Entertainment, Spielberg’s production company, along with her husband, Frank Marshall; until she joined Lucasfilm, the couple separately owned a second production company, the Kennedy/Marshall Company, which has made movies as varied as The Sixth Sense, the Jason Bourne series, and Persepolis. So, it wasn’t as if she needed the work when Lucas, a colleague and friend from the Indiana Jones films, asked her to lunch one day in April 2. New York. And he said, . Only in hindsight, she said, could she parse her reasons for leaping aboard—a mix of respect for Lucas and his company and the excitement of a new challenge.
A Bay Area native, Kennedy also liked the idea of working in San Francisco, and who wouldn’t, given the Lucasfilm campus’s location just inside the city’s Presidio—once an atypically gorgeous U. S. Army base, now literally a park, with views of both the Golden Gate Bridge and downtown. Though the Lucasfilm buildings are only 1. Lucas’s Skywalker Ranch, 3. Marin County—they have an exquisitely calibrated, old- California feel, with gables, porches, trellises, abundant wood, and Arts and Crafts–style furnishings. It’s all mostly faux, designed to Lucas’s specifications, but impeccably done—a Disneyland aesthetic of the very highest order.
You might imagine that Leland Stanford once worked there, or even Zorro. Kennedy quickly strikes one as perfect for the job of running a quasi- independent studio within a massive entertainment conglomerate. She can discuss creative issues with insight and passion. He sketched out ideas for episodes VII, VIII, and IX, to be set initially several decades after Return of the Jedi, and approached Harrison Ford, Carrie Fisher, and Mark Hamill about re- upping.