The Blueprints - WordPress
the bluepr intsInside the Production Archivesj. w. rinzler
table of contentsprefaceNorman Reynolds9forewordGavin Bocquet9introductionJ. W. Rinzler10episode ivIntroduction: A New Hope12The Blueprints18Introduction: The Empire Strikes Back92The Blueprints96episode vIntroduction: Return of the Jedi186The Blueprints190Introduction: Episodes I, II, III The Prequel Trilogy270The Phantom Menace Blueprints274episode iiAttack of the Clones Blueprints308episode iiiRevenge of the Sith Blueprints318episode viepisode iafterword332art department credits by film332interviews & bibliography333index334photo credits336acknowledgments & biographies336opposite The detail is from Ted Ambrose’s technical drawing ofthe gantry built backing from The Empire Strikes Back, March 1979.
89prefaceHaving worked on the original Star Wars trilogy as art directorin many ways with costly mistakes through badly executed work. I wasbe used to produce forced-perspective sets or partially built perspectiveand then production designer, I am thrilled that this beauti-fortunate, as you will see from the standard of the drawings—and doublycorridors wherever the technique might prove economical or save stagefully produced book has been published. I am sure it will sitfortunate in the people I had around me. They proved to be amongst thespace. We used this method often in all the original trilogy Star Warsvery best and most supportive of the then-new designer.movies, as you will see.very comfortably alongside the other making-of Star Wars books, havingillustrated the very essence of the art department’s function.Those working drawings, when completed and approved, are dupli-However, it’s important that the director be made aware of thecated and distributed to all relevant studio departments and theoreticallyrestrictions these shortcuts can place on him; if he is not fully aware ofture working drawings, which are not usually seen outside a studio andrepresent the director’s requirements for each set. Where time is short,this by the time of shooting, then the best thing the production designerwhich are normally simply left to disintegrate in their vaults. But thesethe process can be reversed by producing a drawing before the direc-can do is to leave the country in double-quick time.drawings are an absolute essential in set manufacturing. Whilst theytor has approved a sketch or illustration. In such cases, the productionAll in all, working on these memorable movies has left an indeliblemay not be the most eye catching or glamorous of the art department’sdesigner would meet with the director and perhaps do a thumbnailmark on me. Hardly a day goes by without hearing, reading, or seeingmany functions, they are arguably the most important. Until drawingssketch of what might be required. He would then spend time with thesome reference to Star Wars, which has become so immersed in our culture.are done, wheels do not turn and workshops are silent. It was always adesignated draftsperson in order to produce a working drawing quickly,thrill for me when, after the period of preparation, drawings were issuedso that a precise art model maquette could be produced from it, enablingand construction began. It was also important—because it meant thethe director to view the set in three dimensions before giving his finalpicture had been green-lighted!approval—with any luck!This is an important book because I believe it is the only one to fea-I should mention here that the draftsmen or women who prepare theseIt is possible to determine the exact extent of the set to build byNorman Reynoldsmeticulous drawings are so vital to the process. A competent draftspersonproducing a camera angle projection based on the plan and elevations ofArt director, Episode IVcan contribute to the design of a set and bring their experience to thea working drawing. This can be done with any angle or aspect ratio—andProduction designer, Episodes V and VIdrawing. The downside is that a negligent draftsman can cause havoccan limit the amount of set building. In addition, these projections canforewordy first Star Wars job was for Norman Reynolds on ReturnMMy work began on Episode I with a mixture of excitement, nervous-Working on Star Wars, from Jedi to the three Prequels, was a bril-of the Jedi. And my first job on that film was doing a tech-ness—and fear! But right from the start, I made sure I used everythingliant and life-affecting experience for me. Although it was a dauntingnical drawing of the speeder bike, under the direction ofI had learned from Norman Reynolds. A very important part of thattask, I have to say that George was extremely supportive of our efforts.Norman and his brilliant senior art director, Fred Hole. Here I was, awas treating technical drawing with the respect it deserved. And to helpEven though he knew most of the art department hadn’t done a film offully fledged draftsman working on the last of a series of films I hadkeep Peter Russell, my supervising art director, and me in line, we actu-this level before, he made us feel part of the family from day one. Youloved since first seeing A New Hope while I was studying 3-D design atally had Fred Hole working with us on Phantom. If we ever fell short ofonly get one or two of these opportunities in your career, but once youthe Royal College of Art.Norman’s standards, Fred was sure to let us know. It was good to havehave come through, it gives you a great confidence to go on and do morehim with us, a great comfort.work at the same level.Jedi was only the fourth film I had ever worked on. But even then I realized the importance of technical drawing in the art department. Norman,Rather strangely for me, during the first few weeks on Episode I atMy initial aim was to design the three Prequels to a level that Georgealong with Fred, was a great mentor. Both always stressed how technicalSkywalker Ranch, we were going back through some of the technicalwould be happy with and feel that they were seamlessly connected todrawing was the language we communicated in—how every mark wedrawings of the original trilogy, as some of the environments were to bethe look of the original trilogy. But I was also very much aware of theput on paper mattered, however small or seemingly insignificant.used again—when a couple of my drawings came up from Jedi. I thinkfans’ reactions, as they can be the hardest of judges. So one of the mostGeorge was quite surprised to see those, as I am not sure he rememberedpleasing aspects of the work we did was that the fans seem to accept theI was on it, but that was a nice connection.design of the Prequels as being naturally part of the Star Wars world.All of the creative ideas that come together in a film—from sets andprops to environments—have to be technically drawn in some way ortop A photo of Stage 1 at Elstree Studios, in England, taken during the making of The Empire Strikes Back circa March 1979, showsthe exterior wood structures of the ice corridor and Medical Centersets (note the circular opening in the latter’s roof ), with other structures in various stages of seemingly chaotic construction.abov e A photo taken during the making of Revenge of the Sithon Stage 1 of Fox Studios in Sydney, Australia, circa July 2003,shows the bridge of General Grievous’s Trade Federation cruiseras it is being constructed on a rostrum; the final set would have atleast a dozen illuminated screens.other, either by pencil on paper or mouse on pad. From simple sketchesOne specific area on Attack of the Clones where we had to rely heav-The common thread running through all six of the films was technicalto architectural models to concept art—and during the more recent years,ily on technical drawings was when we were re-creating Luke’s Tatooinedrawing—and that will hopefully never change. Everything every fandigital painting and modeling—it is the only way to communicate designHomestead, in Tunisia. We had to go back to the technical drawingshas loved about the Star Wars films, from sets to spacecraft to vehiclesideas accurately to all the relevant departments: construction, prop mak-done on A New Hope. Luckily, thanks to John Barry and his team, theto props, down to even the tiniest of control buttons, has at some pointing, special effects, visual effects, postproduction houses. The designs aresets and dressings had all been drawn extremely well and in great detail.been carefully and thoughtfully drawn. That’s how important it is.only as good as the technical drawings that allow them to be built.When George first walked onto the Chott el Gharsa location and saw theOnce I had finished working on Jedi, I never thought for one momentreproduction of the homestead in such great detail, I think it was quitethat one day I might be the production designer on a Star Wars film.an emotional moment for him. And our clever reproduction was purelyBut once I had become a fully fledged production designer some yearsdown to the accurate technical drawings from over two decades before.later, I met Rick McCallum and was asked to do The Young IndianaI went on to be the production designer on Revenge of the Sith, whereJones Chronicles with George Lucas. And after about three years on thatwe had a similar experience, having to reproduce the interiors of the RebelDraftsman, Episode VITV series, I was offered the production designer’s job on The PhantomBlockade Runner and the Star Destroyer. Again we relied on technicalProduction designer, Episodes I, II, and IIIMenace. I would like to think that George had spotted my talent whiledrawings from the previous Episodes, a few of which were those technicalon Jedi, but, sadly, I don’t think that was quite the case.drawings of mine from Jedi. So I felt my circle had been completed.Gavin Bocquet
1011introductionStar Wars: The Blueprints gives a voice to the Star Wars studioand other materials; cut, sawed, measured, and hammered into form bythey have to solve many conceptual problems, they would also have toAfter having labored on one, two, or all three of the original trilogythanks to years of training and apprenticeship, as they become familiaronly draftsman to work on both trilogies and is widely admired as having aart departments who, film after film, laid the groundwork andteams of craftspeople and used just long enough for the days needed—do it as cheaply and effectively as possible, while often considering howStar Wars films, the different men of the art departments split off andwith a host of materials. A draftsperson might work on a dozen filmsbeautiful “hand” (and who, sadly, passed away in February 2011). Indeed,built the structures of many of the most iconic sets in the his-before being smashed to pieces and thrown into a junk pile to make roomone set might be revamped and used as another to further economizereformed for the Indiana Jones trilogy, Alien, James Bond and Montyor more before becoming an assistant art director; very few would everGavin Bocquet told me how much he had learned from Hole as a juniorfor the next one. The number of stages was always limited, while thetime and money.Python films, and many other movies. They would reappear as Academybecome production designers. And then there’s Reg Bream, by all accountsdraftsman during the several films they worked on together. Of course,tory of cinema.There have been many art-of Star Wars books, usually consisting ofnumber of sets multiplied as the imagination of George Lucas, creatorLost in most of the literature about Star Wars is that, particularly forAward winners on Titanic in 1998, production designers and art direc-the superlative draftsman of the original trilogy, fast and unmatched,Bocquet’s participation was essential to the book and, luckily, he foundfantastic concept illustrations, sketches, and storyboards. Often theseof the Star Wars Saga, expanded in proportion to growing budgets andthe first film, the production designer conceptualized many sets from thetors of the Harry Potter series, and so on. The family tree of this corewho seems to have had no other ambition than to create one fantastictime to talk while working in England on another film—even pullingartworks are juxtaposed with final frames from the film, unintentionallyprogressively modernized effects.ground up, literally. Luke’s garage, the Cantina bar, the white corridor ofgroup would show a pedigree that more or less dominated productiondrawing after the next.in his supervising art director on the Prequel Trilogy, Peter Russell, whoconveying the idea that concept drawings were translated directly intoMany of these illusory interiors and exteriors for the original trilogythe Rebel Blockade Runner, many interiors of the Death Star, the Falcondesign in the United Kingdom, and to some extent the United States,My privilege during the research and writing of this book was gettinghad essential insights on the technical drawings. Indeed it was great funfinished sets. But the fact is that an interim “stage” existed: the blueprint,came from concepts worked up in conjunction with Lucas by the now-cockpit—nearly all of the sets, really—stemmed from the collaboration offor thirty-odd years.to hear their stories and the larger narratives of the successive art depart-seeing Gavin and Peter again (thanks to Skype), as I hadn’t seen themor technical drawing. Occasionally these same books have even reproducedlegendary Ralph McQuarrie. Lucas would explain his ideas in broad strokes,Lucas with veteran production designer John Barry. It is not for nothingThe unsung heroes of the original trilogy art departments are thement chiefs. Norman Reynolds not only consented to several hours ofsince I was at Fox Studios in Sydney, Australia, chronicling their effortsa few blueprints, but almost always too small to be read, studied, or fullysometimes supplying reference material, and then McQuarrie would makethat Lucas to this day refers to Barry as a “genius.”draftsmen, who drew in collaboration with their respective art depart-interviews over a period of weeks, but also responded to dozens of e-mails.in my book, The Making of Star Wars: Revenge of the Sith.appreciated. (There was a very early set of fifteen blueprints publishedsketches on the subject until Lucas was satisfied; McQuarrie would thenIndeed, each film in the Saga contains indelible marks left by thement heads, but who also added their own ideas. They worked quicklyTalking to Star Wars set dresser Roger Christian was a valuable lesson inWriting Star Wars: The Blueprints has been an adventure into the pastby Ballantine Books in 1977, with no supporting text.) And yet duringproduce a color study and finally a finished painting. Vehicles were gener-studio art departments. The seemingly disparate parts of these six Starand creatively, almost always under difficult deadlines. Their blueprintsthe earliest days of the first film’s aesthetic revolution and allowed me tothat I hope will endure and that readers will enjoy. My sincere wish is thatprincipal photography for all six films, actors have worked on very real,ally under the purview of the visual effects art director at Industrial LightWars art departments came together from a relatively small pool of talentare often not as sexy as concept work, but they have an attribute thatadd his memories and experiences to the amalgamating history of theStar Wars: The Blueprints will preserve the efforts of the magnificentlyvery detailed creations. From the Rebel Blockade Runner hallway and& Magic, Joe Johnston. For the Prequel Trilogy, Lucas made use of a teamfostered in English film studios. Nurtured on the movies of Sir Davidconcept art lacks—a sense of the real. In fact, blueprints had to be moregroundbreaking first film (his original interview with Charles Lippincotttrained and inspired men and women who contributed so much to thethe cockpit of the Millennium Falcon to the bridge of General Grievous’sof artists under the supervision of Doug Chiang, Ryan Church, and ErikLean, Sir Carol Reed, Richard Lester, Ken Annakin (who directed manyworldly and team-oriented works, something that the construction,from 1976 is lost, and so his crucial part was not told in The Making ofart of cinema.flagship, Jabba the Hutt’s Palace, the Death Star, and the TatooineTiemens. But in all cases, every practical set was eventually turned over tofilms for Walt Disney), and others, they trained with the great produc-paint, and plaster departments could use and that other key figures inStar Wars—but is fortunately now included in this book). Christian washomestead—all of these places and hundreds more had to be designed,the film’s production designers: John Barry (Episode IV), Norman Reynoldstion designers of their time, including John Box, Ken Adam, and Charlesthe creation of the movie could consult, from the director of photographyalso very patient, responding to many questions via e-mail. He is workingJ. W. Rinzlerbuilt, painted, and dressed, with technical drawings showing the way.(Episodes V and VI), and Gavin Bocquet (Episodes I, II, and III).Bishop. Some of the art department crew, such as art director Alanto the set dresser.on a book about his experiences on Star Wars, Alien, and his other films,Skywalker RanchOne of the reasons, perhaps, for the relative neglect of blueprints isWith his team of art directors, assistant art directors, draftspeople, setTomkins and construction manager Bill Welch, came from the “classGenerally the draftsperson’s artistry lies within their discipline; inthat their progeny, these sets and full-sized vehicles, existed only briefly,dressers, and set modelers, the production designer would work out howof 2001,” having worked on Kubrick’s groundbreaking, mind-bendinganother age, draftspeople would have belonged to a guild. Like theirAlan Tomkins was a big help, as were former draftsmen Ted Ambrose,wisps of artistry constructed from wood, plaster, metal, foam, fiberglass,to translate blue-sky concepts into nuts-and-bolts sets. Not only wouldfilm of 1968, 2001: A Space Odyssey.forebears, members of the art department earn their spots and promotionsMichael Boone, Steve Cooper, Peter Childs, and Fred Hole, who is theabov e Production designer John Barry examines the C-3POcostume prop in its earliest phase, early 1976.top & abov e Preparing the Sidi Driss hotel in Matmata,Tunisia, for shooting the homestead scenes in early 1976, are twopainters (above) and a chargehand for props dressing, Joe Dipple (top).and I can’t wait to read it.abov e r ight Set dresser Roger Christian during earlypreproduction on Star Wars.
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2627left The theatrical poster for Douglas Trumbull’s SilentRunning (1972) shows the film’s angular robots. Ralph McQuarrietherefore designed R2-D2 as more circular and rounded.r ight A McQuarrie drawing showed how R2’s arms mightconnect to his shell (with a kind of antenna on top).below r ight Lucas, Kenny Baker, and production designerJohn Barry (on right) discuss how R2 will be built around thediminutive actor; this is one of the few pictures of the droid as itwas being developed in its all-wood prototype incarnation.bottom r ight In brown coat, Lucas examines the R2prototype at Elstree Studios, early 1976 (special mechanical effectssupervisor John Stears is on the far right).robot r2robot R 2episodEIVSE T: Rob ot R 2 [p gs . 24 –25]DE TAIL : Fro nt Assembly (Fo r 3' 8' ' Ma n )DRG . N O . : 67 [ A ]S C ALE : FSDATE : Ja n ua ry 20 , 1976DR AWN BY: Peter J . Childs“As I remember, Artoo-Detoo came from this tinyRunning technique of using an amputee—they walklittle sketch that Ralph McQuarrie did,” says Lorneon their hands—but that has such severe physicalPeterson. “A couple of brush strokes, a round thing,limitations to the look of the thing that if we’d usedand a little bit of blue.”an amputee, Artoo would have looked remarkably likeIn fact, McQuarrie did a few paintings and draw-the ones in that film; I mean, really, very much. So weings of the feisty little
episode iv Introduction: A New Hope 12 The Blueprints 18 episode v Introduction: The Empire Strikes Back 92 The Blueprints 96 episode vi Introduction: Return of the Jedi 186 The Blueprints 190 episode i Introduction: Episodes I, II, III The Prequel Trilogy 270 The Phantom Menace Blueprints 274 episode ii Attack of the Clones Blueprints 308
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