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+ "interaction_id": "532bd8a6-6b2b-4b0b-9aff-30801c76dff6",
+ "search_results": [
+ {
+ "page_name": "From Robot Voices to John Williams, A History of Star Wars at the ...",
+ "page_url": "https://www.vulture.com/2019/12/a-history-of-star-wars-at-the-oscars.html",
+ "page_snippet": "Did A New Hope get robbed by Woody Allen? It\u2019s a long story.From robot voices to John Williams to The Rise of Skywalker, here\u2019s a history of George Lucas\u2019s Star Wars at the Oscars. Academy wins, though, are as scarce as the perpetually endangered Jedi themselves. So as we embark upon yet another awards season and another Star Wars release cycle, let\u2019s look back on how the series has been both embraced and cold-shouldered thus far: By the Numbers: 3 Films, 17 nominations, 7 competitive wins, and 3 special Oscars \u00b7 The instant cultural sensation that was Star Wars Episode IV \u2014 A New Hope (1977) was impossible to ignore, even for the Academy, despite its much-discussed aversion to fantasy and sci-fi. Seemingly against the odds, all ten films prior to Star Wars: Episode IX \u2014 Rise of Skywalker (whose golden fate is yet unknown) have received at least one Oscar nomination. Academy wins, though, are as scarce as the perpetually endangered Jedi themselves. So as we embark upon yet another awards season and another Star Wars release cycle, let\u2019s look back on how the series has been both embraced and cold-shouldered thus far: That all turned around with 2012\u2019s Skyfall, which got five nominations and two wins (for Adele\u2019s title song and sound editing; the latter award it had to share with Zero Dark Thirty). Bloated franchises like Transformers and Pirates of the Caribbean similarly had their moments in technical categories, but those never lasted long. Seemingly against the odds, all ten films prior to Star Wars: Episode IX \u2014 Rise of Skywalker (whose golden fate is yet unknown) have received at least one Oscar nomination. Academy wins, though, are as scarce as the perpetually endangered Jedi themselves.",
+ "page_result": " \n\n \n \n \n \n \n \n\n\n\n\n \n A History of Star Wars at the Oscars\n\n\n\n\n\n\n\n \n\n \n\n \n\n\n \n\n\n\n \n\n \n\n\n\n \n\n \n \n\n \n \n \n \n\n\n\n \n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n \n \n \n \n \n\n \n\n \n \n\n\n \n\n\n\n \n \n \n \n \n \n \n
\n And also with the academy.\n Photo: Lucasfilm\n
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Are\u00a0Star Wars\u00a0fans crazy? At the very least, we can call them combative. The fanbase\u2019s slow, angry turn to the dark side \u2014 embodied by the harsh, sometimes racist and misogynistic reactions to Rian Johnson\u2019s\u00a0The Last Jedi\u00a0on some corners of the internet \u2014 was not without its early warning signs. But it wasn\u2019t always a morally compromised Luke Skywalker or female characters of color vexing the faithful. Once upon a time in a galaxy \u2026 well, here, the biggest enemy to\u00a0Star Wars\u00a0fandom was Diane Keaton in a necktie and pants.
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In my home growing up, we never spoke of the 1977 Woody Allen film\u00a0Annie Hall, except with derision. The Best Picture winner \u2014 along with Best Actress winner Diane Keaton \u2014 is generally regarded as one of the Academy\u2019s better choices, a rare win for comedy that\u2019s managed to somewhat withstand our great cultural reassessment of Woody Allen. But my parents and older siblings loathed the classic rom-com on principle \u2014 sight unseen, for the record! \u2014 and not for any kind of moral stance against Allen. No, they despised\u00a0Annie Hall\u00a0because it had \u201cstolen\u201d the Best Picture Oscar away from\u00a0Star Wars.
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I thought this was a peculiar quirk of my own childhood until I met a close, post-college friend whose brother called him in disgust one day to tell him, \u201cSo I just watched\u00a0that\u00a0movie.\u201d\u00a0That\u00a0movie being Annie Hall. It\u2019s as if Diane Keaton herself had ordered the Death Star strike on Alderaan. Since then, I\u2019ve learned that for Lucasfilm faithful, \u201cAnnie Hall\u00a0over\u00a0A New Hope\u201d ranks right up there with \u201cOrdinary People\u00a0over\u00a0Raging Bull\u201d and \u201cDances with Wolves\u00a0over\u00a0Goodfellas\u201d in terms of supposed Academy injustices.
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\n Not Diane Keaton.\n Photo: Lucasfilm\n
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But if the\u00a0Star Wars\u00a0saga has been under-rewarded at the Oscars, it\u2019s not personal. The Academy has been indifferent to franchise cinema from the beginning. The exceptions are your\u00a0Godfather Part IIs and your\u00a0Return of the Kings; otherwise, the Academy loses interest in series quickly. (Unwavering devotion to serialized storytelling is the Emmys\u2019 bag!) You can see the steep drop off in Oscar\u2019s attention to sequels as early back as\u00a0The Thin Man\u00a0series of the 1930s, which started its run with a Best Picture nod in \u201934, only to see the first (of several) sequels receive one lonely follow-up nomination.
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The James Bond films, which have their own fraught Oscar history, earned a couple Academy acknowledgments during its Sean Connery run (a sound award for\u00a0Goldfinger,\u00a0a visual effects citation for\u00a0Thunderball), then went virtually unrecognized across the next several decades, only receiving a scant few nominations, mostly in the Original Song category, and zero wins. That all turned around with 2012\u2019s\u00a0Skyfall, which got five nominations and two wins (for Adele\u2019s title song and sound editing; the latter award it had to share with\u00a0Zero Dark Thirty). Bloated franchises like Transformers and Pirates of the Caribbean similarly had their moments in technical categories, but those never lasted long.
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Seemingly against the odds, all ten films prior to\u00a0Star Wars: Episode IX \u2014 Rise of Skywalker\u00a0(whose golden fate is yet unknown) have received at least one Oscar nomination. Academy wins, though, are as scarce as the perpetually endangered Jedi themselves. So as we embark upon yet another awards season\u00a0and\u00a0another\u00a0Star Wars\u00a0release cycle, let\u2019s look back on how the series has been both embraced and cold-shouldered thus far:
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\n \n \n \n \n Original Trilogy (1977-1983)\n \n\n
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By the Numbers: 3 Films,\u00a017 nominations, 7 competitive wins, and 3 special Oscars
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The instant cultural sensation that was\u00a0Star Wars Episode IV \u2014 A New Hope\u00a0(1977) was impossible to ignore, even for the Academy, despite its\u00a0much-discussed\u00a0aversion to fantasy and sci-fi. The institution showered the film with honors. Despite losing Best Picture to that accursed Ms. Keaton, it picked up the most Oscar statues that year, seven all told, with six competitive wins (Art Direction, Costume Design, Sound, Film Editing, Visual Effects, and Original Score). It also received a special achievement \u201cfor the creation of the alien, creature, and robot voices,\u201d which was presented by C-3PO\u00a0in a bowtie.\u00a0(This type of honor would later get its own competitive category, now known as Sound Editing).
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In addition to its craft nods,\u00a0A New Hope\u00a0received nominations for Best Picture, Best Supporting Actor (Alec Guiness), Best Director, and Best Original Screenplay \u2014 the only time the series has broken into these top categories. Long forgotten in the\u00a0Star Wars\u00a0Oscar story, though, is that George Lucas arrived at the competition with auteur momentum.\u00a0American Graffiti, his film before\u00a0Star Wars, had been a box-office smash and Best Picture nominee, earning Lucas himself two Oscar nominations (Screenplay and Director). Despite his early success, Lucas was famously indifferent, even prickly, about the notion of awards.\u00a0According to the biography\u00a0Skywalking, he only agreed to attend the 50th Academy Awards in the spring of 1978 as a plus-one, since his then-wife Marcia was nominated (and won) for co-editing\u00a0Star Wars. By the summer of 1981, in fact, the man\u00a0had resigned from the Academy, the Writers Guild, and the Directors Guild, all of which had honored him for both of his first two hits. (By 1983 he\u2019d also resigned from Marcia, taking up with Linda Ronstadt for several years.)
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\n A For Your Consideration ad for George Lucas\u2019s Star Wars.\n Photo: Lucasfilm\n
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Though\u00a0The Empire Strikes Back\u00a0(1980) is now often cited as the greatest of all\u00a0Star Wars\u00a0films, its reception in 1980 was cooler, amongst both fans and the Academy. It won only one competitive Oscar, Best Sound, which was handed out by Lando Calrissian himself (Bernadette Peters was Billy Dee Williams\u2019s co-presenter).\u00a0Empire\u00a0was also nominated for Original Score and Art Direction (Yoda\u2019s swampy home, see you we do!) Finally,\u00a0Empire\u00a0received a special achievement for visual effects.\u00a0A New Hope\u00a0had faced competition for the Visual Effects statue, triumphing over another instant classic,\u00a0Close Encounters of the Third Kind.\u00a0But its two sequels were given special Oscars, since they had no nominated competitors. While visual effects had been an area of filmmaking honored by the Academy as early as 1929 when\u00a0Wings, the first Best Picture, also took a prize called \u201cEngineering Effects\u201d for its impressive dogfights, the category proved erratic for decades, only stabilizing into a dependable annual competition in 1991, when James Cameron\u2019s\u00a0Terminator 2\u00a0triumphed.
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Return of the Jedi\u00a0(1983) was the first (of many) Star Wars films to win zero competitive Oscars, despite nominations for\u00a0Art Direction, Original Score, and both sound categories. It did take home another special achievement Oscar for visual effects, the last Oscar given to any Star Wars film.
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\n A For Your Consideration ad for Best Sound Effects, featuring Jabba the Hutt.\n Photo: Lucasfilm\n
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\n \n \n \n \n Prequel Trilogy (1999-2005)\n \n\n
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By the Numbers: 3 Films, 5 nominations, 0 wins
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It\u2019s hard to remember what it was like when the news that the Star Wars saga was returning first broke. Joyful madness prevailed! The expectations were insanely optimistic, and that included a potential return to Oscar\u2019s good graces. The harsh reality, of course, involved Jar Jar Binks, \u201cyipee!,\u201d\u00a0and midi-chlorians. Despite the rapid deflation of, let\u2019s say, qualitative expectations after the premiere of Phantom Menace(1999), all three films were still gargantuan box-office hits. And Academy voters were not sufficiently put off by all that trade-route business to deny Menace the mandatory* Oscar nominations: Sound Mixing, Sound Editing, and Visual Effects.
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\n Revenge of the Sith became the sole Star Wars film to be shut out of the Oscar\u2019s visual effects category altogether.\n Photo: Lucasfilm\n
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*Herewith a\u00a0theory: Sound and visual effects honors are the baseline Oscar categories for all Star Wars films. You can tell how well-loved any particular \u201cepisode\u201d was during its year by whether or not it received both visual effects and sound nominations, and if it was able to crossover into other fields. In short, the next two prequel films were comparative awards disasters (that steep drop off!) with Attack of the Clones (2002) receiving only a Visual Effects nomination and Revenge of the Sith (2005) becoming the sole Star Wars film to be shut out of the visual effects category altogether! Curiously, the latter was nominated for Best Makeup, a category no Star Wars film before or since has ever competed in \u2014 was it Anakin\u2019s burn-victim look? \u2014 though it\u2019s worth noting here that the Makeup and Hairstyling category was not a steady annual competition until 1984, one year after the original trilogy was in the rearview mirror.
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\n \n \n \n \n Modern Star Wars (2015-2018)\n \n\n
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Disney purchased the Star Wars brand for a paltry $4.05 billion in 2012 and began sprinkling Tinkerbell\u2019s fairy dust all over it. Soon the by-then beleaguered space opera was up and flying again. The Force Awakens (2015) was such a behemoth that it started a whole new wave of relentless stanning and made its price tag look like a steal. The passion wasn\u2019t just with the public but the media and industry, too. The Critics Choice Movie Awards, in their perpetual determination to predict the Oscars, infamously chucked out all decorum to grant it a retroactive Best Picture nomination since it hadn\u2019t screened until after their nominations were announced.
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\n The dawn of a new era.\n Photo: Lucasfilm\n
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The Academy liked it too, but they were subdued in their love, denying it a Best Picture nomination. They gave it five nominations in total: the mandatory three, plus Film Editing and Original Score, marking the return of Star Wars\u2019 John Williams to Oscar\u2019s good graces. The legendary composer\u2019s career is awash in Oscar wins (five) and nominations (51!), and he had been nominated for all three original trilogy movies, but was subsequently shut out for all three prequels. Newly minted Jedi Daisy Ridley was also invited to present at the ceremony.
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The Force Awakens was just the beginning of the current Disney frenzy of nonstop Star Wars content, but Oscar may already be experiencing a drop-off. The saga\u2019s most divisive entry,\u00a0The Last Jedi (2017), received the mandatory three nominations plus one for Original Score. The two spinoffs, Rogue One (2017) and Solo (2018) fared less well, with Rogue One nominated for VFX and sound, and Solo\u2019s sole O(scar nomination) coming for visual effects.
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\n The first Star Wars spinoff fared less well with the Academy.\n Photo: Lucasfilm\n
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\n \n \n \n \n Up Next: Rise of Skywalker (2019)\n \n\n
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Can Star Wars: Episode IX \u2014 Rise of Skywalker, the 11th film in the Star Wars saga, restore the balance between light and dark? May the Force be with \u2026 the Academy again? We\u2019ll know for sure in January when the nominations are announced, but it\u2019s possible that the last five years of constant Star Wars content, including Disney+\u2019s The Mandalorian, have diluted any urgency to honor a \u201cfinal\u201d installment that everyone knows won\u2019t be a real finale \u2014 billions of future dollars depend on more episodes, and Disney loves nothing more than billion-dollar movies.
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For now, this long-running beloved saga is still waiting for its own Skyfall.
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+ "page_last_modified": ""
+ },
+ {
+ "page_name": "Star Wars: Episode IV A New Hope | Wookieepedia | Fandom",
+ "page_url": "https://starwars.fandom.com/wiki/Star_Wars:_Episode_IV_A_New_Hope",
+ "page_snippet": "Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Wars original trilogy and the first Star Wars film released. The film is set 19 years after the formation of the Galactic Empire and the ...Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Wars original trilogy and the first Star Wars film released. The film is set 19 years after the formation of the Galactic Empire and the events of Revenge of the Sith; construction has finished on the Death Star, a weapon capable of destroying a planet. The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled simply Star Wars and, later, Star Wars Episode IV: A New Hope, to reflect the retitling of the film. Certain scenes deleted from the film (and later restored or archived in DVD bonus features) were present in the novel, such as Luke at Tosche Station with Biggs and the encounter between Han and Jabba in Docking Bay 94. Other deleted scenes from the movie, such as a close-up of a stormtrooper riding on a Dewback, were included in a photo insert added to later printings of the book. The New York Times described Star Wars: Episode IV A New Hope as \"the most beautiful movie serial ever made.\" Roger Ebert called the film \"an out-of-body experience,\" compared its special effects to those of 2001: A Space Odyssey, and opined that the true strength of the film was its \"pure narrative.\"[69] Vincent Canby called the film \"the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure.\"[70] The film earned $797,900,000 worldwide, making it the first film to reach the $300 million mark.[67] Adjusted for inflation it is the second highest grossing movie of all time in the United States, behind Gone with the Wind.[68] The New York Times described Star Wars: Episode IV A New Hope as \"the most beautiful movie serial ever made.\"",
+ "page_result": "\n\n\n\nStar Wars: Episode IV A New Hope | Wookieepedia | Fandom\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\n\n\t\n\n\t\n\n\t\n\n\t\n\n\t\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t
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\"A film for a generation growing up without fairy tales.\"
Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Warsoriginal trilogy and the first Star Wars film released.\n
Inspired by films like the Flash Gordonserials and the samurai films of Akira Kurosawa, as well as such critical works as Joseph Campbell'sThe Hero with a Thousand Faces and Frank Herbert's Dune books, Lucas began work on Star Wars in 1974. Ground-breaking in its use of special effects, this is considered to be among the most successful\u2014and most influential\u2014films of all time. Produced with a budget of US$11,000,000 and released on May 25, 1977, the film became one of the most successful of all time, earning $215 million in the United States and $337 million overseas during its original theatrical release, as well as winning several film awards, including 10 Academy Award nominations. It was re-released several times, sometimes with significant changes; the most notable versions were the 1997 Special Edition and the 2004 DVD, which were modified with CGI effects and recreated scenes. It was re-released in the Blu-ray format in September of 2011. The film was selected to be preserved by the Library of Congress as part of its National Film Registry. The film was selected in 1989, the program's first year in existence.\n
It is a period of civil war.\nRebel spaceships, striking\nfrom a hidden base, have won\ntheir first victory against\nthe evil Galactic Empire.\n\nDuring the battle, Rebel\nspies managed to steal secret\nplans to the Empire's\nultimate weapon, the DEATH\nSTAR, an armored space\nstation with enough power\nto destroy an entire planet.\n\nPursued by the Empire's\nsinister agents, Princess\nLeia races home aboard her\nstarship, custodian of the\nstolen plans that can save her\npeople and restore\nfreedom to the galaxy....
Princess Leia is kidnapped by the Galactic Empire.
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The ship is captured, and several Imperial stormtroopers come aboard. After defeating the small number of guards defending the ship, the Sith LordDarth Vader arrives to assess the damage. Vader is outraged and questions Captain Antilles, whom he eventually strangles and kills. Hiding on the ship, Princess Leia is able to record a holographic message with the help of R2-D2, and gives the droid the plans for the Death Star and the responsibility of taking the message to Obi-Wan Kenobi, a Jedi-in-hiding on Tatooine. Leia is spotted by stormtroopers and they shoot her with a stun blast and bring her before Vader. Leia claims she and the ship's crew were on a diplomatic mission to Alderaan, but is disbelieved by Vader, who denounces her as a traitor and has her taken prisoner. Vader orders a message be sent to the Imperial Senate, informing them that the ship was destroyed, with everyone on board killed. R2-D2 and C-3PO use an escape pod in order to escape the ship and reach the planet of Tatooine below.\n
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Luke's destiny
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Luke Skywalker receives his father's lightsaber.
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\"There's nothing for me here now. I want to learn the ways of the Force and become a Jedi like my father.\"
After arguing and going their separate ways for a while, the droids are individually picked up by Jawa traders and brought aboard a Sandcrawler. They are later bought by moisture farmer Owen Lars and his nephew, Luke Skywalker, a young farmer who lost his parents as a baby and hopes to one day be a starfighter pilot just like his friends. While cleaning R2, Luke discovers the hologram, at the mention of Obi Wan, he wonders if she means his neighbor Ben Kenobi.\n
While eating dinner with Owen and his Aunt Beru Whitesun Lars, Owen asks Luke to take R2 to Anchorhead the next day to have his memory wiped, and expresses his hope Luke will stay with them for one more harvest season before sending his application to the Academy. R2 escapes from the Lars' homestead in search of Obi-Wan, whom the droid claims to be the property of. Luke and C-3PO search the desert and find R2 the next day, only to be attacked by Sand people. Luke and his droids are rescued by Ben Kenobi, who confirms he is Obi-Wan.\n
At his home, Obi-Wan gives Luke his father's lightsaber, as Obi-Wan recalls his own friendship with Luke's father. He tells Luke that he and his father were a part of the Jedi order that once protected the galaxy before the Empire took over and that Darth Vader was once his apprentice before he fell to the dark side of the Force and murdered Luke's father. After viewing Princess Leia's message carried by R2-D2, Obi-Wan attempts to persuade Luke to accompany him to Alderaan. Luke refuses to go until the group discovers the remains of the Sandcrawler, the Jawas having been killed by stormtroopers searching for the droids. Realizing this, Luke hurries home only to find his aunt and uncle's charred remains, having been brutally murdered by the same stormtroopers.\n
Luke returns upset, but Obi-Wan tells him there was nothing he could do, and that he would have been killed too and the plans would be in possession of the Empire. With nothing keeping him on Tatooine, Luke, Obi Wan, and the two droids travel to Mos Eisley to find passage to Alderaan, Princess Leia's home planet.\n
Aboard the Death Star, Cassio Tagge argues with Conan Antonio Motti about the stations vulnerability to the rebels and points out that the rebellion has been gaining support within the imperial senate. Wilhuff Tarkin enters the room with Darth Vader and informs them that the Emperor has dissolved the senate completely, sweeping away the last remnant of the Old Republic. Believing fear will keep the galaxy in line, Motti boasts the power of the Death Star, to which Vader replies that its power is insignificant compared to the Force. When Motti mocks Vader's belief in the Force, Vader Force chokes him until Tarkin orders him to stop, and expresses his own desire to crush the Rebellion.\n
Back in Mos Eisley, Luke, Obi-Wan and the Droids run into a patrol of stormtroopers, who ask for their identification. Obi-Wan uses a Jedi Mind trick on the lead trooper, who lets them pass. Arriving at Chalmun's Spaceport Cantina, the group hires smugglerHan Solo and his First Mate, a Wookiee named Chewbacca, for 17,000 credits, 2,000 in advance and 15,000 upon arrival, to take the four of them to Alderaan aboard their ship, the Millennium Falcon. After Han has a brief run-in with Greedo over his debts to crime lord Jabba The Hutt, which ends with Han fatally shooting Greedo, they make it to the Falcon's hanger. A brief scuffle with stormtroopers and henchmen sent by Jabba ensues, and the Falcon escapes Imperial Star-Destroyers over Tatooine and sets a course to Alderaan, unaware that the Death Star has just arrived there as well.\n
Leia, having resisted being tortured with a Mind probe for the location of the Rebel Alliance's headquarters, is brought before Grand Moff Tarkin. Tarkin threatens to use the Death Star's Superlaser on Leia's Homeworld of Alderaan if she does not tell them the Rebel base's location. She reluctantly tells them the base is on Dantooine, but Tarkin orders Alderaan to be destroyed anyway for its role in supporting the rebels.\n
Tarkin and Vader discover that Leia lied about the Rebel bases location when their forces only discover the ruins of a base on Dantooine. Tarkin orders her to be executed.\n
Having docked with the Death Star, Solo and the others ambush two stormtroopers and the Imperial scanning crew sent to investigate the Falcon by hiding in hidden smuggling compartments. With Han and Luke now disguised as the two stormtroopers, the group storms a control room to figure out how to escape. Obi-Wan separates from the group to disable the tractor beam, leaving the others alone. While connected to the Imperial Network, R2-D2 discovers Princess Leia is aboard the station and is set for termination. Luke convinces Han and Chewbacca to rescue her with the vague promise of a grand reward. Han and Chewbacca reluctantly agree. Luke plans to march into Detention Block AA-23, claiming that Chewbacca is part of a prisoner transfer. C-3PO and R2-D2 are instructed to remain behind, and the trio sets off on their rescue attempt. Upon being met with suspicion, they are quick to subdue the officers and guards in the princess's cell block. Luke frees Leia from her cell, but the group are pinned down by a squad of stormtroopers. Leia takes charge, blasting a hole in a nearby grate and jumping through while Chewbacca, Luke, and Han all dive after the princess.\n
The chute ends up leading to a garbage compactor that is also home to a residentdianoga. Soon after landing, the creature pulls Luke under the surface, but releases him and is scared away when the Imperials realize where the heroes escaped to and activate the compactor. As the walls close in on the foursome, Luke desperately calls to C-3PO over his comlink asking for the compactor to be shut down. Leia struggles to get to the top and Chewbacca tries to unlock the door. R2-D2 manages to shut down the compactor just in time, although, amidst the muffled cries of joy over the comlink, C-3PO is briefly convinced that his master and friends have been crushed.\n
After escaping from the trash compactor, the group hurries back to the Millennium Falcon, hoping that Obi-Wan has successfully shut down the tractor beam. Leia and Han bicker about who is in charge of the mission, while Han muses no reward is worth dealing with Leia's scathing criticism. Luke and Leia briefly become separated from Han and Chewie when Han chases after a group of stormtroopers, only to run into a whole battalion and be chased by them instead. Luke and Leia nearly run into a large chasm and are forced to swing across with a Grappling hook amongst blaster fire, with Leia giving Luke a brief kiss \"for luck\". The group soon rejoins and makes there way back to the Falcon.\n
\n
Sacrifice and victory
\n \t \t \t \t\t \t\t\t \t\t \t\t \t\t \t\t\t
\"You can't win, Darth. If you strike me down, I shall become more powerful than you can possibly imagine.\"
\t\t \t\n
\n
\"This will be a day long remembered. It has seen the end of Kenobi. It will soon see the end of the Rebellion.\"
Meanwhile, Obi-Wan, remaining completely undetected, shuts down the tractor beam. Vader, however, had sensed his presence through the Force, and, while Obi-Wan makes his way to the Millennium Falcon, confronts his old master and engages him in a lightsaber duel. Luke and the others make it back to the Falcon, where Luke and several stormtroopers witness the battle. Sparing one last glance at Luke, Obi-Wan allows himself to be struck down by Vader, thus becoming one with the Force and allowing Luke and the others to escape. Horrified and angered at having witnessed Obi-Wan's demise at the hands of Vader, Luke and the others are forced to flee on the Millennium Falcon under a hail of blaster fire from the stormtroopers.\n
Still mourning Obi-Wan's death, Luke helps Solo fend off a squadron of TIE fighters. Despite their supposed victory, Leia correctly believes the empire let them go in order to track them to the rebel base. The crew of the Falcon finally meets the Rebel Alliance on the moon of Yavin 4, and the information in R2-D2 is turned over to them. GeneralDodonna plans the attack on the Death Star, as the plans reveal a weakness in the Death Stars design in the form of a thermal exhaust port leading to the station's reactor. Believing a direct hit with Proton torpedos will cause a chain reaction that will destroy the station, Dodanna tells the pilots to man their ships in preparation for the battle. To Luke's dismay, Han leaves after receiving his reward to settle his debts.\n
\n \t \t \t \t\t \t\t\t \t\t \t\t \t\t \t\t\t
Rebel fighters approach the Death Star.
\t\t \t\n
The Rebel strike force begins its attack on the Death Star, as the space station approaches Yavin-4. A group of X-wing, and Y-wing starfighters, Luke among them, assault a trench on the Death Star's surface to hit the station's vulnerable spot before it can destroy the Alliance's base. During this, most of the Rebel craft, including Luke's friend Biggs Darklighter, are picked off by a group of Imperial fighters led by Darth Vader. Tarkin is told by an imperial officer that the Rebels do pose a danger, but Tarkin refuses to evacuate in their supposed moment of triumph. With the Death Star only minutes from being in range to destroy Yavin-4, Luke makes one last run down the trench toward the exhaust port. Just as Vader opens fire on Luke from his personal TIE Advanced fighter, Han returns in the Millennium Falcon and attacks the Imperials, resulting in Vader's ship getting knocked out of the trench. Luke, aided by the voice of Kenobi and guided by the Force, accurately fires two proton torpedoes into the exhaust port, and the battle station explodes, killing Tarkin and everyone on board, while Vader escapes into space.\n
The few remaining ships (those of Wedge Antilles, Luke, Han, and a Y-wing Pilot) return to Yavin 4 and a victory ceremony commences, where medals are presented to the heroes, Han Solo and Luke Skywalker, by Princess Leia, as the rebels give them a standing ovation.\n
\n
Development
\n
Conception
\n
During post-production on his previous film, American Graffiti, Lucas repeatedly discussed the concept of a \"space opera\" with producer Gary Kurtz. In January 1973 Lucas began work on this, and by May had prepared a 14-page story outline for distribution among film studios.[5] He had originally envisioned the film as being a continuation of both American Graffiti and Apocalypse Now (the latter of which he helped make before Warner Bros. Studios shut down his studio of American Zoetrope and thus forced him to hand over development to his compatriot, Francis Ford Coppola). His note for the basic plotline for the film, which was intended to be a response to the Vietnam War era, was that it involved \"a technological empire going after a small band of freedom fighters.\"[6][7] According to Walter Murch, a former associate of Lucas when the latter was filming Apocalypse Now, the space opera setting was conceived in large part because, due to the Vietnam War still going on, the audiences would not have been receptive to a direct attack on American involvement in Vietnam.[8][9] Because of its outer space setting, the story was viewed as science fiction, an unpopular genre at the box office. Lucas later proposed that terms like \"space fantasy\" or \"science fantasy\" better fit the story.[5] He brought the outline to Universal Studios and United Artists; both rejected the project (the former refused directly, while the latter withheld their answer until after the 10 day wait period ended).[6][10][7] He also turned to Walt Disney Studios Motion Pictures, though they also turned him down.[6][7] Lucas disliked the studio system because his previous two films, American Graffiti and THX 1138, had been re-edited without his consent.[11] Still, aware that studios were unavoidable, he pursued Alan Ladd, Jr., the head of 20th Century Fox. Although Ladd did not grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd \"invested in me, [but] he did not invest in the movie.\"[5]\n
As the draft developed, the characters evolved significantly. Early in development, Luke Skywalker's character changed from a 60-year-old general to a member of a family of dwarfs;[5][12] the Corellian smuggler, Han Solo, was envisioned as a large, green-skinned monster with gills.[12]Chewbacca was inspired by Lucas' Alaskan malamute dog, Indiana, who often acted as the director's \"co-pilot\" by sitting in the passenger seat of his car.[12] The Force, a mysterious energy field, was initially conceived as the Kyber crystal, a \"galactic holy grail.\"[13][5] The completed script was too long for one movie; however, Lucas refused to condense it. Instead, he expanded the first third of it into one movie and left the rest for two future films, effectively creating the original Star Wars trilogy.[14][5][15]\n
Lucas hired conceptual artist Ralph McQuarrie to create paintings of certain scenes during screenwriting. When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings.[16] 20th Century Fox approved a budget of $8,250,000; American Graffiti's positive reviews allowed Lucas to renegotiate his deal with Alan Ladd, Jr. and request the sequel rights to the film. For Lucas, this deal protected Star Wars' unwritten segments and most of the merchandising profits.[5][17]\n
In 1975, Lucas founded the visual effects company Industrial Light & Magic (ILM) after discovering that 20th Century Fox's visual effects department had been disbanded. ILM began its work on Star Wars in a warehouse in Van Nuys, California. Lucas himself bought old equipment for pennies on the dollar.[18] traditionally, models were filmed by moving them in front of a stationary camera.[19] Most of the visual effects used motion control photography, which creates the illusion of size by employing small models and slowly moving cameras called the Dykstraflex.[18] all the models would be shot in front of a blue screen, which would allow the placement of other elements into the scene, this process is called optical compositing.[18] the team the special effects team retooled an optical printer that allowed separate film strips to be photographed and combined onto a single layer of film.[18] artists created matt paintings to increase the scope and production value of a scene, by extending environments painted on glass, that would be photographed and combined with live-action elements.[18] Model spaceships were constructed on the basis of drawings by Joe Johnston, input from Lucas, and paintings by McQuarrie. Lucas opted to abandon the traditional sleekness of science fiction by creating a \"used universe\" in which all devices, ships, and buildings looked aged and dirty.[5][20][21]\n
When filming began on March 22, 1976 in the Tunisian[22] desert for the scenes on the planet Tatooine, the project faced several problems.[source?] Lucas fell behind schedule in the first week of shooting due to a rare Tunisian rainstorm, malfunctioning props, and electronic breakdowns.[23] When actor Anthony Daniels wore the C-3PO outfit for the first time, the left leg piece shattered down through the plastic covering his left foot, stabbing him. After completing filming in Tunisia, production moved into the more controlled environment of Elstree Studios, near London.[23] However, significant problems, such as a crew that had little interest in the film, still arose.[5][23] Most of the crew considered the project a \"children's film,\" rarely took their work seriously, and often found it unintentionally humorous.[24] Actor Kenny Baker later confessed that he thought the film would be a failure.[25]Harrison Ford found the film \"weird,\" in that there was a princess with buns for hair and what he called a \"giant in a monkey suit\" named Chewbacca.[source?] Ford also found the dialogue difficult, saying, \"You can type this shit, George, but you sure can't say it.\"[26]\n
Lucas clashed with Director of PhotographyGilbert Taylor, whom producer Gary Kurtz called \"old-school\" and \"crotchety.\"[5][27] Moreover, with a background in independent filmmaking, Lucas was accustomed to creating most of the elements of the film himself. His camera suggestions were rejected by an offended Taylor, who felt that Lucas was over-stepping his boundaries by giving specific instructions. Lucas eventually became frustrated that the costumes, sets and other elements were not living up to his original vision of Star Wars. He rarely spoke to the actors, who felt that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words \"faster\" and \"more intense.\"[5]\n
Ladd offered Lucas some of the only support from the studio; he dealt with scrutiny from board members over the rising budget and complex screenplay drafts. After production fell two weeks behind schedule, Ladd told Lucas that he had to finish production within a week or he would be forced to shut down production. The crew split into three units, led by Lucas, Kurtz, and production supervisor Robert Watts, respectively. Under the new system, the project met the studio's deadline.[5][23] ILM concluded shooting on April 22, 1977 with shot 110P, that of a Star Destroyer.[28]\n
Star Wars was originally slated for release in Christmas 1976; however, delays pushed the film's release to summer 1977. Already anxious about meeting his deadline, Lucas was shocked when his editor's first cut of the film was a \"complete disaster.\" After attempting to persuade the original editor to cut the film his way, Lucas replaced the editor with Paul Hirsch and Richard Chew. He also allowed his then-wife Marcia Lucas to aid the editing process while she was cutting the film New York, New York with Lucas' friend Martin Scorsese. Richard Chew found the film had an non-energetic pace; it had been cut in a by-the-book manner: scenes were played out in master shots that flowed into close-up coverage. He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously; whoever finished first moved on to the next.[5]\n
During production, the cast attempted to make Lucas laugh or smile as he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with hypertension and exhaustion and was warned to reduce his stress level.[5][23]Post-production was equally stressful due to increasing pressure from 20th Century Fox. Moreover, Mark Hamill's face was injured in a car accident, which made reshoots impossible.[23]\n
Meanwhile, ILM was struggling to achieve unprecedented special effects. The company had spent half of its budget on four shots that Lucas deemed unacceptable.[23] Moreover, theories surfaced that the workers at ILM lacked discipline, forcing Lucas to intervene frequently to ensure that they were on schedule.[5] With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months. Lucas inspired ILM by editing together aerial dogfights from old war films, which enhanced the pacing of the scenes.[5][19]\n
During the chaos of production and post-production, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an \"organic soundtrack.\" For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Burtt created the robotic voice of R2-D2 by filtering his voice through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a scuba tank implanted with a microphone.[29] Lucas never intended to use the voice of David Prowse, who portrayed Darth Vader in costume, because of Prowse's thick English West Country accent. He originally wanted Orson Welles to speak for Darth Vader. However, he felt that Welles' voice would be too recognizable, so he cast the lesser-known James Earl Jones.[30] Nor did Lucas intend to use Anthony Daniels' voice for C-3PO. Thirty well-established voice actors, such as Stan Freberg, read for the voice of the droid. According to Daniels, one of the major voice actors recommended Daniels' voice for the role.[5][12]\n
The \"Lost Cut\" of Star Wars was edited by John Jympson.[31] When Lucas screened an early cut of the film for his friends, among them directors Brian De Palma, John Milius and Steven Spielberg, their reactions were disappointing. Spielberg, who claimed to have been the only person in the audience to have enjoyed the film,[5] believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas later said that the group was honest and seemed bemused by the film. In contrast, Alan Ladd, Jr. and the rest of 20th Century Fox loved the film; one of the executives, Gareth Wigan, told Lucas, \"This is the greatest film I've ever seen,\" and cried during the screening. Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before.[5] Although the delays increased the budget from $8 million to $11 million, the film was still the least expensive of the Star Wars saga.\n
\n
Music
\n
From the very beginning, Lucas' intention for \"Star Wars\" was that it would have very familiar sounding music, that despite the extraordinary visuals and events occurring onscreen, the music would be reminiscent of Earth and of the past. To that end, he originally wanted to fill the film with tracked classical music from various composers, in a similar fashion to 2001: A Space Odyssey.[32] Lucas' friend, Steven Spielberg, recommended composer John Williams to Lucas after their recent collaboration on Jaws (1975). Spielberg convinced Lucas that he should meet with the composer, who in turn convinced him of the need for original music.[33] They also decided in this early meeting that the score should have a romantic musical sound, with leitmotifs for different characters and events, similar to the operas of Richard Wagner.[34]\n
Rough cuts of \"Star Wars\" used something called a \"temp score\", referring to musical material that was there to find a rhythm while editing but would not be kept in the final cut as it would be replaced by the final score. These temp tracks would help to inspire the direction John Williams was to take with his score as he began writing it.[35] Most of the temp tracks are not public knowledge, but some information has been revealed over the years. In one interview, editor Paul Hirsch confirmed that a cue from Bernard Herrmann's Psycho score containing the famous \"3-note motif\" was used to temp the scene where the heroes exit the smuggling chambers of the Millennium Falcon.[36] In another interview, Hirsch revealed that the opening to \"The Sacrifice\" from Igor Stravinsky's \"The Rite of Spring\" was used to temp the scene in the desert, the Jawa scenes were temped from other parts of the same piece, and the Main Title crawl was temped with the overture of Ivanhoe by Mikl\u00f3s R\u00f3zsa.[37] Later, in his own book, Hirsch would claim that the Main Title crawl was temped with Erich Korngold's theme to the 1938 Robin Hood. It is unknown which of these claims is correct. Also in his book, Hirsch mentions that the Cantina scene was tracked by Benny Goodman's \"Avalon\" from his Carnegie Hall performance, some of the early battle footage was tracked with \"Dance of the Adolescents\" from \"The Rite of Spring\", and the approach to the Death Star was temped with the music from the approach to Kong Island from Max Steiner's King Kong score.[38] In an interview, sound editor Ben Burtt said that Anton\u00edn Dvo\u0159\u00e1k's New World Symphony was temped into the medal ceremony (Hirsch mentioned this in his book too), and parts of Anton Bruckner's Ninth Symphony were temped as Luke's theme.[37] Homages to many of these known temp tracks appear in the final score. For example, the cue [1m5-2m1] Desert Song from Star Wars is extremely similar to the opening of the Stravinsky piece it was temped with. Further, the music in [1m2] Main Title that plays when the underbelly of the Star Destroyer flies over the camera is very similar to the ending of \"Mars - The Bringer of War\" from Holsts' \"The Planets\". Even the 3-note motif from Psycho appears in the very opening of the Star Wars cue [7m1-7m2 New] The Hatch Opens, exactly where the temp track would have been.\n
On January 10th, 1977, Williams was invited to the spotting sessions, where he watched a rough cut of the film with Lucas, music supervisor Lionel Newman, music editor Ken Wannberg, producer Gary Kurtz, and film editor Paul Hirsch.[37][38][39] Over the next several weeks, he would get to work writing the score. The way Williams wrote his score, he began by creating all the various leitmotifs and character themes (such as \"Luke's Theme\", \"Leia's theme\", and \"Ben's theme\", the \"Jawa theme,\" the \"Rebel Fanfare,\" and the \"Imperial motif\"). He then went on to create the actual score by stringing all the themes he created together in a way that would match up with what was happening on screen.[40] It's unknown exactly how long John Williams spent writing the score, but it is certain that he would have had at the absolute most no more than 8 weeks, given that they started recording on March 5th. This is unrealistic because there needed to have been time for the orchestrators to write out all the various parts for the players, so it is more likely that the score was completed in 7 weeks or less.\n
As with any creative process, parts of the score went through multiple revisions. One well-known example is the cue \"Lost R2\", which scores the famous \"binary sunset\" scene. This scene was originally scored with a very different sounding piece that contained \"Luke's theme\". When Lucas heard the cue, he asked if it could be rescored with \"Ben's theme\" because he felt it fit the scene better.[35] It can be argued that this opened the door for \"Ben's theme\" to be recontextualized into what we think of today as the \"Force theme\". Another interesting example of the score changing was the cue \"A Home Destroyed\". When this cue was written, it was designed to score the end of Ben's house, Leia's torture, the discovery of the attacked sandcrawler, and Luke returning home to find his guardians dead and his home burned. While Williams was writing the score, the film was re-edited so that the board room scene would occur where the torture scene used to be. This caused the cue to be split in half. The first 14 bars were recorded by themselves with a newly written ending featuring the \"Death Star theme\" for the transition to the boardroom scene. Then a second cue was recorded, being made up of bars 31-71 (attacked sandcrawler and burned homestead scenes) and bars 17-30 (Leia torture scene), with some new transition material written to join them.[41] This isn't the only time editing of the film would require changes to the score, but it is one of the only examples where a re-edit resulted in the score being changed before it was recorded. The rest of the edits were done too late, and the remaining score changes were left to be made artificially by Ken Wannberg.[38] After the writing of the score was completed, the orchestrations were performed by lead orchestrator Herbert Spencer, who was assisted by Arthur Morton, Angela Morley, Al Woodbury, Alexander Courage and Williams himself.[40]\n
\n
Complete cue list (as written)
\n
\n
\n
\n
Cue #\n
\n
Cue Title\n
\n
Orchestrator\n
\n
Notes\n
\n
\n
1m2\n
\n
Main Title\n
\n
unknown\n
\n
\n
\n
\n
1m3\n
\n
The War\n
\n
Herbert Spencer\n
\n
\n
\n
\n
1m4-2m1\n
\n
The Escape Hatch\n
\n
Herbert Spencer\n
\n
\n
\n
\n
1m5-2m1\n
\n
Desert Song\n
\n
Herbert Spencer\n
\n
\n
\n
\n
2m2\n
\n
The Little People\n
\n
Herbert Spencer\n
\n
replaced by 2m3 New\n
\n
\n
2m3 New (old 2m2)\n
\n
The Little People\n
\n
Herbert Spencer\n
\n
replaces 2m2\n
\n
\n
2m3\n
\n
More Little People\n
\n
Herbert Spencer\n
\n
replaced by 2m3 Rev.\n
\n
\n
2m3 Rev.\n
\n
More Little People\n
\n
Herbert Spencer\n
\n
replaces 2m3\n
\n
\n
2m4\n
\n
R-2\n
\n
Herbert Spencer\n
\n
\n
\n
\n
3m1\n
\n
The Princess Appears\n
\n
Herbert Spencer\n
\n
replaced by 3m1 Rev.\n
\n
\n
3m1 Rev.\n
\n
The Princess Appears\n
\n
Herbert Spencer\n
\n
replaces 3m1\n
\n
\n
3m2\n
\n
Lost R2\n
\n
Herbert Spencer\n
\n
replaced by 3m2 Rev.\n
\n
\n
3m2 Rev.\n
\n
Lost R2\n
\n
Herbert Spencer\n
\n
replaces 3m2; replaced by 3m2 New\n
\n
\n
3m2 New\n
\n
Lost R2\n
\n
unknown\n
\n
replaces 3m2 Rev.\n
\n
\n
3m3\n
\n
The Sand Speeder\n
\n
Herbert Spencer\n
\n
replaced by 3m3 Rev.\n
\n
\n
3m3 Rev.\n
\n
The Sand Speeder\n
\n
Herbert Spencer\n
\n
replaces 3m3\n
\n
\n
3m4-4m1\n
\n
The Sandman Attacks\n
\n
Herbert Spencer\n
\n
replaced by 3m4-4m1 Rev.\n
\n
\n
3m4-4m1 Rev.\n
\n
The Sandman Attacks\n
\n
Herbert Spencer\n
\n
replaces 3m4-4m1\n
\n
\n
4m2\n
\n
Obi-Wan Kenobi\n
\n
Arthur Morton\n
\n
\n
\n
\n
4m2A\n
\n
The Force\n
\n
Herbert Spencer\n
\n
\n
\n
\n
4m3\n
\n
The Princess Reappears\n
\n
Herbert Spencer\n
\n
\n
\n
\n
4m4\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaced by 4m4 Rev.\n
\n
\n
4m4 Rev.\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaced by *unknown* and 4m4A, as explained in the paragraph above\n
\n
\n
unknown\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaces 4m4 Rev.; made of bars 1-14 of the original 4m4 Rev. + two new bars (14A and 14B)\n
\n
\n
4m4A\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaces 4m4 Rev.; made of bars 31-71 of the original 4m4 Rev. + new bar 72 + new bars (15 and 16) + old bars 17-30\n
\n
\n
5m1\n
\n
A Hive of Villainy\n
\n
Al Woodbury\n
\n
replaced by 5m1; known to exist due to mentions of it in manuscript\n
\n
\n
5m1\n
\n
A Hive of Villainy\n
\n
Al Woodbury\n
\n
replaces 5m1\n
\n
\n
unknown\n
\n
unknown (referred to as \"Cantina Band\")\n
\n
unknown\n
\n
\n
\n
\n
unknown\n
\n
unknown (referred to as \"Cantina Band #2\")\n
\n
unknown\n
\n
\n
\n
\n
5m6\n
\n
The Inner City\n
\n
Herbert Spencer\n
\n
replaced by 5m6 Rev.\n
\n
\n
5m6 Rev.\n
\n
The Inner City\n
\n
Herbert Spencer\n
\n
replaces 5m6\n
\n
\n
6m1\n
\n
Blasting Away\n
\n
Herbert Spencer\n
\n
\n
\n
\n
6m5 New\n
\n
The Destruction of Alderaan\n
\n
Al Woodbury\n
\n
Mistakenly spelled Alderon in the original manuscript\n
When it came time to record the score, Williams was given no choice but to record in London, presumably due to budget constraints and the fact that most of the film was shot in England.[37] He did have the choice of which orchestra he wanted to work with, and he ended up choosing the London Symphony Orchestra (LSO) due to its primary conductor being his friend Andr\u00e9 Previn. This was historically significant, as it was the first time Williams ever got to work with an organized symphony orchestra for a film.[35] Previous films of his usually recorded with freelance players. The score was recorded over the course of eight days between March 5th and March 16th of 1977 at Anvil Recording Studios in Denham, England.[34][35] People present at the sessions included John Williams himself, who was conducting, George Lucas, recording engineer Eric Tomlinson, his assistant Alan Snelling, and music editor Ken Wannberg. The orchestra itself was made up of 26 violins, 10 violas, 10 cellos, 6 basses, 11 woodwinds, 8 horns, 4 trumpets, 3 trombones, 2 tubas, 2 harps, 3 percussion, 1 timpani, 1 piano, and 1 celeste.[45] The score was recorded with approximately 23 microphones, placed at strategic positions around the orchestra. The mixing console, a Rupert Neve, had 24 inputs and 16 outputs. Recording engineer Eric Tomlinson used the console to create a live LCR (Left, Center, Right) mix while the orchestra was playing. The live mixes were recorded straight to two 35mm magnetic film recorders (with healthy Dolby A noise reduction applied). The live mix was also routed to tracks 1-3 of a Struder A80 16-track 2 inch recorder, with sections of the orchestra isolated on tracks 4-15 and a 50 hz pilot tone on track 16. The pilot tone could later be used for synchronization with the film during editing.[46][47] After the recording was completed, the best takes were combined into performance edits by music editor Ken Wannberg. He created performance edits using one of the 35mm mag recordings, as well as with the 16 track tapes. (note: a performance edit is where sections of different takes are combined together to create the best possible recording of a given cue) The 16 track tapes were intended both for backup purposes, and to be sent off to be remixed by John Neal for the eventual soundtrack release on LP. The 35mm edits would of course be further edited by Wannberg into the final stems for use in the film.[46][35][48]\n
\n
Complete cue list (as recorded) and recording session log
Total length of score (not including alternates or concert suites): 83:48\n
Total length of score (including alternates and concert suites): 90:34\n
\n
Score as it appears in the final film (all releases from 1977-1996)
\n
\n
\n
Score breakdown (non-Special Edition)\n
\n
\n
Timestamp in film\n
\n
Cue #\n
\n
Cue Title\n
\n
Scene Description\n
\n
Notes\n
\n
\n
0:01-0:21\n
\n
N/A\n
\n
20th Century Fox Fanfare (with Cinemascope Extension)\n
\n
Fox logo and Lucasfilm logo\n
\n
Composed by Alfred Newman. Recorded by Alfred Newman and the 20th Century Fox Orchestra in 1954. Interestingly, for the film stem, the master tapes of a stereo version of this cue could not be located in time. The cue was instead sourced directly from the 4-track film stems to River of No Return. That is why this cue is noticeably much lower quality in the film vs on subsequent soundtrack releases.[46]\n
\n
\n
0:29-2:43\n
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1m2\n
\n
Main Title\n
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Title crawl, opening space battle, Tantive IV is shot\n
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2:35-6:13\n
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1m3\n
\n
The War\n
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Tantive IV is boarded, R2 receives plans from Leia, Darth Vader demands plans\n
\n
three microedits: the second note before the drumroll is slowed down by 35% at 3:11, ends up playing about a tenth of a second longer, same thing at 3:39, one second snipped out at 4:48\n
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6:11-9:12\n
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1m4-2m1\n
\n
The Escape Hatch\n
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Princess Leia is captured, the droids escape, Vader sends attachment to Tatooine\n
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one microedit: 3 seconds snipped out at 8:33\n
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10:27-11:25\n
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1m5-2m1\n
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Desert Song\n
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C-3PO wanders around the Dune Sea of Tatooine\n
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12:30-15:22\n
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2m3 New (old 2m2)\n
\n
The Little People\n
\n
R2-D2 is captured by the Jawas, who take him to their Sandcrawler where they've already captured C-3PO\n
\n
six microedits: 1 second snipped at 12:36, 1 second snipped at 12:49, 15 seconds snipped at 12:51, 2 seconds snipped at 12:59, 67 seconds snipped at 13:05, a tenth second removed at 14:23\n
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15:23-17:27\n
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2m3 Rev.\n
\n
More Little People\n
\n
The droids are brought out for sale at the Lars Homestead, introduction of Luke\n
\n
two microedits: In the film the opening of the cue is prepended by 6 seconds of tracked material from 10 seconds later in the cue. There is also a quarter second of silence added at 17:04\n
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\n
18:55-19:20\n
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2m4\n
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R-2\n
\n
C-3PO recommends purchasing R2-D2, both droids are taken inside by Luke\n
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20:47-22:40\n
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3m1 Rev.\n
\n
The Princess Appears\n
\n
While cleaning the droids Luke accidentally stumbles on Leia's message to Obi-Wan Kenobi\n
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24:50-27:05\n
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3m2 New\n
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Lost R2\n
\n
Luke watches the sunset while dreaming of leaving Tatooine, returns to the garage to find R2 gone\n
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27:25-28:01\n
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3m3 Rev.\n
\n
The Sand Speeder\n
\n
Luke and C-3PO go out to look for R2-D2, some Tusken Raiders mobilize, the heroes find R2\n
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three microedits: 23 seconds snipped out at 27:31, 8 seconds snipped at 27:44, 2 seconds snipped at 27:53\n
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28:16-30:28\n
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3m4-4m1 Rev.\n
\n
The Sandman Attacks\n
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A Tusken Raider attacks Luke, he is found by old Ben Kenobi\n
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three microedits: a quarter second removed at 28:19, a tenth second removed at 29:16, 1 second of tracked material from 7 seconds earlier used at 29:45 to artificially extend the cue\n
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30:44-32:24\n
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4m2\n
\n
Obi-Wan Kenobi\n
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Ben wakes up Luke and takes him and the droids back to his house\n
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33:47-34:47\n
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4m2a\n
\n
The Force\n
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Ben tells Darth Vader's backstory, and explains the Force\n
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34:45-34:46\n
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4m3\n
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The Princess Reappears\n
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R2-D2 plays Leia's full message for Ben and Luke\n
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35:51-36:49\n
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4m4 Rev.\n
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A Home Destroyed bars 1-14B\n
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Luke promises to take Ben to Anchorhead\n
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38:46-41:36\n
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4m4A\n
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A Home Destroyed bars 31-72 + bars 15-30\n
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The heroes find a ransacked sandcrawler. Luke races home to find his house burned and his family dead.\n
\n
\n
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41:20-43:21\n
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5m1\n
\n
A Hive of Villainy\n
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Jawa funeral, Luke decides to help Leia, Ben takes Luke and the droids to Mos Eisley\n
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\n
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\n
44:00-45:02\n
\n
unknown\n
\n
\"Cantina Band\"\n
\n
The heroes enter a cantina in Mos Eisley\n
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two microedits: 87 seconds snipped out at 44:29, 17 seconds snipped out at end\n
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45:02-46:10\n
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unknown\n
\n
\"Cantina Band\"\n
\n
Luke goes up to the bar and is attacked\n
\n
one microedit: 98 seconds snipped out at 46:10, 4 seconds before this are artificially faded out\n
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46:24-46:42\n
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unknown\n
\n
\"Cantina Band\"\n
\n
Ben tells Luke about Chewie\n
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one microedit: 149 seconds snipped out at 46:42, the quarter second before this is artificially faded out\n
\n
\n
46:49-47:01\n
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unknown\n
\n
\"Cantina Band #2\"\n
\n
The heroes go back in the cantina to speak with Chewie and Han Solo\n
\n
two microedits: 5 seconds snipped out at 46:49, 185 seconds snipped out at 46:59, 53 seconds snipped out at 47:01\n
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\n
47:01-47:48\n
\n
unknown\n
\n
\"Cantina Band #2\"\n
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The heroes speak to Han Solo\n
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two microedits: 5 seconds snipped out at 47:01, 183 seconds snipped out at 47:48\n
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\n
47:48-49:00\n
\n
unknown\n
\n
\"Cantina Band #2\"\n
\n
The heroes negotiate with Han Solo\n
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two microedits: 15 seconds snipped out at 47:48, 147 seconds snipped out at 49:00\n
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\n
49:06-50:22\n
\n
unknown\n
\n
\"Cantina Band #2\"\n
\n
Greedo confronts Han Solo about his debt to Jabba, Solo kills Greedo\n
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two microedits: 94 seconds snipped out at 49:06, 65 seconds snipped out at 50:22\n
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\n
50:50-52:25\n
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5m6 Rev.\n
\n
The Inner City\n
\n
Ben and Luke head to the Millennium Falcon\n
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52:37-54:52\n
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6m1\n
\n
Blasting Away\n
\n
The heroes escape from Tatooine\n
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one microedit: 2 seconds snipped out at 53:12\n
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55:39-57:12\n
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6m5 New\n
\n
The Destruction of Alderaan\n
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Tarkin and Vader test the Death Star by blowing up Alderaan\n
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one microedit: 9 seconds from 56:41-56:50 are dialed out (replaced by silence)\n
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\n
61:59-63:42\n
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7m1 New (old 6m3)\n
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Is It a Bird?\n
\n
The Millennium Falcon is pulled in by the Death Star's Tractor Beam\n
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one microedit: 4 second section from 63:22-63:26 is looped once to artificially extend the cue\n
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\n
64:45-66:40\n
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7m1-7m2 New\n
\n
The Hatch Opens\n
\n
The heroes sneak out of the Falcon and take over a control room\n
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\n
\n
\n
70:02-72:04\n
\n
7m2\n
\n
The Mouse Robot\n
\n
Han and Luke in stormtrooper disguises take Chewbacca to the prison block\n
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\n
\n
\n
72:03-74:03\n
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8m2 New\n
\n
More Rescue\n
\n
Shootout with stormtroopers as the heroes find Leia's cell\n
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\n
\n
\n
74:36-76:48\n
\n
8m2 Rev\n
\n
The Rescue\n
\n
More stormtroopers arrive, the heroes escape down the garbage chute\n
\n
One microedit: half a second is snipped out at 74:44\n
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\n
79:26-82:13\n
\n
8m4\n
\n
The Walls Converge\n
\n
The droids evade stormtroopers and shut off all trash compactors on the detention level, saving the heroes\n
\n
One microedit: First 40 seconds are snipped out.\n
\n
\n
82:31-85:06\n
\n
9m1\n
\n
Ben Creeps Around\n
\n
The heroes head towards the Falcon, Ben disables the tractor beam\n
\n
\n
\n
\n
85:05-87:48\n
\n
9m2\n
\n
The Swashbucklers\n
\n
The heroes face off against stormtroopers on the way to the Falcon, Ben prepares to duel Vader\n
\n
Two microedits: 1 second snipped out at 87:13, 1 second snipped out at 87:15\n
\n
\n
89:51-92:05\n
\n
9m3-10m1\n
\n
Ben's Death\n
\n
Luke watches Vader kill Ben, the heroes escape on the Falcon\n
\n
Two microedits: The 8 seconds from 90:28 to 90:36 are looped once, the 2 seconds from 91:32-91:34 are looped once\n
\n
\n
92:05-93:52\n
\n
10m2\n
\n
Here They Come\n
\n
The Falcon fights off pursuing TIE fighters\n
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\n
\n
\n
102:07-103:25\n
\n
10m3-11m1\n
\n
Stand By\n
\n
The Rebel X-Wings approach the Death Star\n
\n
Five microedits: the first 5 seconds are slowed by 7%, the next 13 seconds are slowed by 2%, the 1 second from 103:07-103:08 is looped once, the 2.5 seconds from 103:08-103:11 is looped once, a quarter second is snipped at 103:22\n
\n
\n
103:22-106:45\n
\n
11m2 Rev.\n
\n
Approaching the Target\n
\n
The Battle of Yavin begins\n
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\n
\n
\n
110:33-115:00\n
\n
12m1\n
\n
The Last Battle\n
\n
The Battle of Yavin ends, Luke blows up the Death Star\n
\n
Two microedits: half a second snipped at 110:46, quarter second silence added at 114:33\n
\n
\n
115:33-117:20\n
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12m2\n
\n
End Titles (bars 1-51)\n
\n
Award Ceremony\n
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\n
\n
\n
117:20-117:51\n
\n
12m2X\n
\n
End Titles\n
\n
End Credits Sequence\n
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\n
\n
\n
117:51-121:07\n
\n
12m2\n
\n
End Titles\n
\n
End Credits Sequence\n
\n
\n
\n
\n
Total length of music in movie: 80:37\n
\n
Soundtrack releases
\n
The score to Star Wars has had several releases over the years. While many of these releases have been straight reissues of previous releases, there are currently four releases with unique programs that were independently mastered from the original session tapes:[49]\n
A New Hope was originally presented in monaural sound in many theaters, though the first-run [[Wikipedid in monaural sound in many theaters, though the first-run 70mm prints were some of the earliest wide-release examples of surround sound\u2014something not seen in the commercial cinema since the Cinerama and Cinemascope experiments of the early 1950s.\n
\n
Sources and inspirations
\n
The film drew inspiration from a number of sources. This was conscious and has been acknowledged by George Lucas in interviews. It is characteristic of much myth-building.\n
Lucas has stated that Akira Kurosawa's 1958 film The Hidden Fortress (USA release 1962) was a strong influence. The resemblance between the two buffoon farmers in The Hidden Fortress and the two talkative droids in A New Hope is apparent. Indeed, when the droids find themselves alone on Tatooine, even the music and the style of \"wipe\" cuts are a clear homage to Hidden Fortress. When Motti is criticizing Darth Vader, he is about to mention the Rebels' \"hidden fortress\" before Vader cuts him off in the middle of the last word.\n
The climactic scene in which the Death Star is assaulted was modeled after (including some of the same dialogue) the 1950s film The Dam Busters, in which RAFLancaster bombers fly along heavily defended reservoirs and aim \"bouncing bombs\" at German man-made dams in a bid to cripple the heavy industry of the Ruhr. (A New Hope cinematographer Gilbert Taylor had previously worked on the special-effects sequences for that film.)\n
Lucas has made mention of the film 633 Squadron directed by Walter Grauman when citing movies that inspired themes or elements in A New Hope. The \"trench run\" in A New Hope wherein Luke flies his X-wing through a \"trench\" on the Death Star and destroys the ship was inspired, at least in small part, by the finale of 633 Squadron, which involves several Royal Air Force planes flying at low level up a fjord against heavy, ground-based anti-aircraft fire, to attack a factory located at the base of a cliff at the canyon's end.\n
\n
Release
\n
Wary that Star Wars would be beaten out by other summer films, such as Smokey and the Bandit, 20th Century Fox moved the release date to Wednesday before Memorial Day: May 25, 1977. However, few theaters ordered the film to be shown. In response, 20th Century Fox demanded that theaters order Star Wars if they wanted an eagerly anticipated film based on a best-selling novel titled The Other Side of Midnight.[5]The New York Times published the first advertisements for the film on May 15, only ten days before its premiere.[50]\n
Star Wars became an instant success upon release; within three weeks, 20th Century Fox's stock price doubled to a record high. Before 1977, 20th Century Fox's greatest annual profits were $37,000,000; in 1977, the company earned $79,000,000. Although the film's cultural neutrality helped it to gain international success, Ladd became anxious during the premiere in Japan. After the screening, the audience was silent, leading Ladd, Jr. to fear that the film would be unsuccessful. He was later told that, in Japan, silence was the greatest honor to a film. Meanwhile, thousands attended a ceremony at Grauman's Chinese Theater, where C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt.[5]\n
During the film's original theatrical run, there were a number of television promotions:\n
Charles Lippincott was hired by Lucas' production company, Lucasfilm Ltd., as marketing director for Star Wars. Because 20th Century Fox gave little support for marketing beyond licensing T-shirts and posters, Lippincott was forced to look elsewhere. He secured deals with Stan Lee, Roy Thomas and Marvel Comics for a comic book adaptation and with Del Rey Books for a novelization. Although Star Wars merchandise was available to enthusiastic children upon release, only Kenner Toys\u2014who believed that the film would be unsuccessful\u2014had accepted Lippincott's licensing offers. Kenner responded to the sudden demand for toys by selling boxed vouchers in its \"empty box\" Christmas campaign; these vouchers could be redeemed for the toys in March 1978.[5]\n
The novelization of the film was published in December 1976, six months before the film was released. The credited author was George Lucas, but the book was revealed to have been ghostwritten by Alan Dean Foster, who later wrote the first Expanded Universe novel, Splinter of the Mind's Eye. The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled simply Star Wars and, later, Star Wars Episode IV: A New Hope, to reflect the retitling of the film. Certain scenes deleted from the film (and later restored or archived in DVD bonus features) were present in the novel, such as Luke at Tosche Station with Biggs and the encounter between Han and Jabba in Docking Bay 94. Other deleted scenes from the movie, such as a close-up of a stormtrooper riding on a Dewback, were included in a photo insert added to later printings of the book. Smaller details were also changed; for example, in the Death Star assault, Luke's callsign is Blue Five instead of Red Five as in the film. Lippincott secured the deal with Del Rey Books to publish the novelization in November 1976. By February 1977, a half million copies had been sold.[5]\n
A radio drama adaptation of the film was written by Brian Daley, directed by John Madden, and produced for and broadcast on the American National Public Radio network in 1981. The adaptation received cooperation from George Lucas, who donated the rights to NPR. John Williams' music and Ben Burtt's sound design were retained for the show; Mark Hamill (Luke Skywalker) and Anthony Daniels (C-3PO) reprised their roles as well. The radio drama featured scenes not seen in the final cut of the film, such as Luke Skywalker's observation of the space battle above Tatooine through binoculars, a skyhopper race, and Darth Vader's interrogation of Princess Leia. In terms of Star Wars canon, the radio drama is given the highest designation, G-canon.[54]\n
Over the years, several comic adaptations of the film have been produced:\n
The film was originally released as\u2014and consequently often called\u2014Star Wars, without Episode IV or the subtitle A New Hope. The 1980 sequel, Star Wars: Episode V The Empire Strikes Back, featured the episode number and subtitle in the opening crawl. When the original film was re-released on April 10, 1981, Episode IV: A New Hope was added above the original opening crawl.[55] Although Lucas claims that only six films were ever planned, representatives of Lucasfilm discussed plans for nine or 12 possible films in early interviews.[56] The film was re-released theatrically in 1978, 1979, 1981, 1982, and 1997.\n
\n \t \t \t \t\t \t\t\t \t\t \t\t \t\t \t\t\t
Official poster for A New Hope Special Edition release
\t\t \t\n
After ILM used computer generated effects for Steven Spielberg's Jurassic Park, Lucas concluded that digital technology had caught up to his original vision for Star Wars.[5] As part of Star Wars' 20th anniversary celebration in 1997, A New Hope was digitally remastered and re-released to theaters, along with The Empire Strikes Back and Return of the Jedi, under the campaign title The Star Wars Trilogy: Special Edition. The Special Edition versions contained visual shots and scenes that were unachievable in the original release due to financial, technological, and time restraints; one such scene involved a meeting between Han Solo and Jabba the Hutt.[5] Although most changes were minor or cosmetic in nature, some fans believe that Lucas degraded the movie with the additions.[57] For instance, a controversial change in which Greedo shoots first when confronting Han Solo has inspired T-shirts brandishing the phrase \"Han shot first.\"[58]\n
A New Hope was released on DVD on September 21, 2004 in a box set with The Empire Strikes Back, Return of the Jedi, and a bonus disc of supplemental material. The movies were digitally restored and remastered, and more changes were made by George Lucas.\n
The DVD features a commentary track from George Lucas, Ben Burtt, Dennis Muren, and Carrie Fisher. The bonus disc contains the documentary Empire of Dreams: The Story of the Star Wars Trilogy, three featurettes, teaser and theatrical trailers, TV spots, still galleries, an exclusive preview of Star Wars: Episode III Revenge of the Sith, a playable Xbox demo of the LucasArts game Star Wars: Battlefront, and a \"Making Of\" documentary on the Episode III video game. The set was reissued in December 2005 as part of a three-disc \"limited edition\" boxed set without the bonus disc.\n
The trilogy was re-released on separate two-disc Limited Edition DVD sets from September 12, 2006 to December 31, 2006; the original versions of the films were added as bonus material. Controversy surrounded the release (often referred to as \"George's original unaltered trilogy\", or \"GOUT\" for short) because the so-called \"unaltered\" versions were from the 1993 non-anamorphiclaserdisc masters, and were not re-transferred to modern DVD standards.[59]\n
On April 7, 2015, the Walt Disney Studios, 20th Century Fox, and Lucasfilm jointly announced the digital releases of the six released Star Wars films. Fox released A New Hope for digital download on April 10, 2015 (while Disney released the other five films).[61]\n
Despite The Walt Disney Company's 2012 purchase of Lucasfilm and the release rights to all future Star Wars films, Fox was to retain original distribution rights to A New Hope, which they co-produced and co-financed, in perpetuity in all media worldwide. Fox was also to retain theatrical, nontheatrical, and home video rights worldwide for the franchise's five subsequent films, which Lucasfilm produced and financed independently, through May2020, at which time ownership was to transfer to Disney. This complex relationship between Fox and Disney, particularly in regards to Fox's perpetual rights to Episode IV, was to create an obstacle for any future boxed set comprising all nine films.[62] On December 14, 2017, The Walt Disney Company announced that it was acquiring most of Fox's parent company, 21st Century Fox, including the film studio and all distribution rights to A New Hope.[63] On March 20, 2019, the deal was officially completed.[64] On April 12, 2019, a Blu-ray box set containing the nine main installments of the Star Warssaga remastered in 4K was reportedly announced to be in development for a 2020 release.[65]\n
\n
Reception
\n
Star Wars debuted on May 25, 1977 in 32 theaters, and proceeded to break house records, effectively becoming one of the first blockbuster films.[66] It remains one of the most financially successful films of all time. Some of the cast and crew noted lines of people stretching around theaters as they drove by. Even technical crew members, such as model makers, were asked for autographs, and cast members became instant household names.[5] The film's original total U.S. gross came to $307,263,857, and it earned $6,806,951 during its first weekend in wide release. Lucas claimed that he had spent most of the release day in a sound studio in Los Angeles. When he went out for lunch with his then-wife Marcia, they encountered a long queue of people along the sidewalks leading to Mann's Chinese Theater, waiting to see Star Wars.[23] The film became the highest-grossing film of 1977 and the highest-grossing film of all time until E.T. The Extra-Terrestrial broke that record in 1982. (With subsequent re-releases, Star Wars reclaimed the title, but lost it again to James Cameron's 1997 blockbuster Titanic.) The film earned $797,900,000 worldwide, making it the first film to reach the $300 million mark.[67] Adjusted for inflation it is the second highest grossing movie of all time in the United States, behind Gone with the Wind.[68]\n
The New York Times described Star Wars: Episode IV A New Hope as \"the most beautiful movie serial ever made.\" Roger Ebert called the film \"an out-of-body experience,\" compared its special effects to those of 2001: A Space Odyssey, and opined that the true strength of the film was its \"pure narrative.\"[69]Vincent Canby called the film \"the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure.\"[70]\n
Pauline Kael of The New Yorker criticized the film, stating that \"there's no breather in the picture, no lyricism,\" and that it had no \"emotional grip.\"[71] Jonathon Rosenbaum of the Chicago Reader stated, \"None of these characters has any depth, and they're all treated like the fanciful props and settings!\"[72] Peter Keough of the Boston Phoenix said, \"Star Wars is a junkyard of cinematic gimcracks not unlike the Jawas' heap of purloined, discarded, barely functioning droids.\"[73] Stanley Kauffmann of The New Republic also responded negatively, noting, \"His work here seems less inventive than in THX 1138.\" According to rottentomatoes.com, of the 54 critical reviews of the film provided on that site, 51 responded favorably (95% of the reviewers), stating in consensus that \"the action and special effects are first rate.\"[74]\n
In 1989, the U.S. National Film Registry of the Library of Congress selected the film as a \"culturally, historically, or aesthetically important\" film.[75] In 2006, Lucas' original screenplay was selected by the Writers Guild of America as the 68th greatest of all time.[76] The American Film Institute (or AFI) listed it 15th on a list of the top 100 films of the 20th century;[77] in the UK, a poll created by Channel Four named A New Hope (together with its successor, The Empire Strikes Back) the greatest film of all time.[78] The American Film Institute has named Star Wars and specific elements of it to several of its \"top 100 lists\" of American cinema, compiled as a part of the Institute's 100th anniversary celebration. These include the 27th most thrilling American film of all time;[79] the thirty-ninth most inspirational American film of all-time;[80] Han Solo as the fourteenth greatest American film hero of all time and Obi-Wan Kenobi thirty-seventh on the same list.[81] The often repeated line \"May the Force be with you\" was ranked as the eighth greatest quote in American film history.[82]John Williams' score was ranked as the greatest American film score of all time.[83]\n
Originally, if the film did poorly at the box office, Lucas planned to turn the novel Splinter of the Mind's Eye into a low-budget sequel to the movie. According to an interview with Alan Dean Foster in Empire magazine, the book was written to be filmed as a low-budget sequel if Star Wars was not a huge success. Harrison Ford was not signed for the sequel as of the writing of the book, which is why Han Solo does not appear in the novel. However, with the success of A New Hope, Lucas was free to make The Empire Strikes Back.[source?]\n
\n
Deleted scenes
\n
There are many short alternate takes throughout Star Wars where Luke appears in his poncho: Luke in the desert, in the Tusken Raiders' canyon, Luke finding the destroyed homestead, and in the hangar on Yavin 4. The only poncho scenes that made the final cut were in Docking Bay 94, on the Millennium Falcon flight from the Death Star, and on arrival on Yavin 4.\n
\n
Aunt Beru's Blue Milk
\n
Beru is in the homestead, pouring a blue liquid into a jug.\n
Luke Skywalker is in the Tatooine desert repairing a moisture vaporator, assisted by a Treadwell droid, when he notices shining objects in the sky. With his macrobinoculars Luke sees two ships engaged in combat beyond the atmosphere. He jumps into his landspeeder. The malfunctioning Treadwell blows a fuse and is unable to follow. Luke speeds off into the desert to find his friends. The scene originally occurred after the Tantive IV is boarded, just before Darth Vader's first appearance in the film. It is thought that there is no longer any clear footage of this scene available. Existing footage has been degraded by poor film storage conditions over the years. Before the film was cut, this was the audience's first sight of the young Luke Skywalker, much earlier than in the final cut. It was removed along with subsequent scenes of Luke and his friends in Anchorhead. George Lucas had originally written the scenes and shot them at the suggestion of his industry friends who thought that audiences wouldn't understand the story strictly being told from a droid's point of view. Upon realizing that the story was really about the droids' adventures and it was them leading things to Luke and Obi-Wan, etc. Lucas took the footage out.\n
Tosche Station
\n
Luke's landspeeder races into the town of Anchorhead, nearly running over an old woman. Luke rushes into Tosche Station excitedly telling his friends about the battle above their planet. He is overjoyed to be reunited with his friend Biggs Darklighter who is on planet leave from the Academy. Deak, Windy, Camie, Fixer and Biggs all follow Luke outside to see the battle with Luke's macrobinoculars. The battle appears to have ended and Luke's friends ridicule him for making it all up. This scene was to come just after R2-D2 and C-3PO eject from the Tantive IV in an escape pod, and before the scene where PrincessLeia is led captive before Darth Vader. This scene establishes Luke's difficult relationships with his peers, and gives a picture of life on Tatooine. Storyline pacing may have been the deciding factor, but it should also be borne in mind that after Lucas's first screening of the rough cut of Star Wars in 1977, a fellow filmmaker jokingly accused him of producing \"American Graffiti in space.\" This jibe probably influenced Lucas to cut the scenes set in Anchorhead. The sequence where Luke nearly runs down an old woman was an effects shot that was never completed.\n
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Luke and Biggs
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Luke says farewell to Biggs
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This scene is a conversation between Luke and his oldest friend, Biggs Darklighter. Biggs has left Tatooine and is on planet leave from the Imperial Academy where he is training to be a space pilot. Luke's envy of Biggs's success conflicts with his duty to his uncle and his reasons for remaining on Tatooine. Biggs quietly tells Luke that he has decided to join the Rebellion against the Empire. In a tense and emotional conversation, the two young men say their final farewells. This scene was to come in between the scene where C-3PO spots a distant Jawa sandcrawler in the desert, and the capture of R2-D2 by the Jawas in the canyon. The Luke and Biggs sequence was part of the whole Anchorhead backstory on Tatooine, and was cut along with the other early scenes on Tatooine, probably for reasons of story pacing.\n
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Vader and Chief Bast
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In this short scene, Darth Vader and Chief Bast walk along a corridor on the Death Star. Bast reports that the search for the missing droids has extended to Mos Eisley spaceport. Vader observes that Princess Leia is resisting interrogation, and Bast boldly criticizes Tarkin's plan to break her as \"foolish.\" The scene would have appeared between the scene where Han Solo encounters Jabba the Hutt in Docking Bay 94 (also cut), and the scene where Luke and Ben find the Millennium Falcon in Docking Bay 94.\n
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The Search for R2
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C-3PO pilots the landspeeder
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R2-D2 has absconded from his new master, Luke Skywalker. Early in the morning, Luke and Threepio rush off in the landspeeder to search for R2, with Threepio driving the landspeeder. They talk about Artoo, Ben Kenobi, and how angry Uncle Owen is going to be. The scene belongs at the start of the sequence where Luke and 3PO search for R2, before the attack of the Tusken Raiders. The moment was scored with a light version of Luke's theme; the music can be heard at the beginning of the cue \"Land of the Sand People\" on the original LP and CD configurations, or \"Landspeeder Search\" in the Special Edition album. Before the days of CGI, scenes like this landspeeder cockpit sequence had to be filmed against a rear-projection screen. The scene was dropped due to poor quality.\n
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Stormtrooper Search
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Various alien creatures are seen walking around a narrow street in Mos Eisley, and some Stormtroopers walk past.\n
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Darth Vader widens the Search
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This is a scene with Darth Vader and another Imperial officer on the Death Star.\n
Plasterers — Tashy Baines, George Block, Jack Armor, George Gillard, Tommy Wallace, Alex Isard, Gordon Isard, Steve Brown, Ray Staples[114]
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Bermans and Nathans (costumier) — Monty Berman, Fred Brazier, Noel Howard, Philip Linke, Dennis Fitzgerald, Roy Smith, Gerald Moulin, Stephen Miles[114]
\u2191By comparing the credits for all releases from 1977 to present (7/1/22), we can conclude that the only teams that went back to the original masters were the OST (1977 - led by John Williams), Anthology (1993 - led by Ford A Thaxton), SE (1997 - led by Michael Mattessino), and Remastered (2018 - led by Shawn Murphy). Every other release is a reissue of one of these four\n
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+ "page_last_modified": " Wed, 13 Mar 2024 17:04:41 GMT"
+ },
+ {
+ "page_name": "Star Wars: Episode IV: A New Hope Movie Review | Common Sense Media",
+ "page_url": "https://www.commonsensemedia.org/movie-reviews/star-wars-episode-iv-a-new-hope",
+ "page_snippet": "Sci-fi action classic perfect for sharing with kids. Read Common Sense Media's Star Wars: Episode IV: A New Hope review, age rating, and parents guide.Parents need to know that Star Wars: Episode IV: A New Hope is a classic 1977 sci-fi action blockbuster that may be more frightening than you recall. The central villain, Darth Vader, creates a menacing presence and engages in several acts of violence (threatening, choking). Set \"a long time ago, in a galaxy far, far away,\" STAR WARS was the first movie released in the eventual six-film saga. Episode IV: A New Hope begins the adventures of Luke Skywalker (Mark Hamill), a lowly farmboy from the planet Tatooine who finds himself swept into an intergalactic civil war after encountering R2D2 (Kenny Baker) and C3P0 (Anthony Daniels), two droids carrying secret plans for an engine of destruction known as the Death Star. But if kids are old enough or mature enough to handle these moments, then it's likely that Star Wars: Episode IV: A New Hope will blow their little minds. It remains an enduring classic for the same reasons it made such an explosive impression way back in 1977. It's full of pulse-pounding action lifted straight from the classic 1930s film serials, it's got humor and character to spare, and the story guides you effortlessly into a completely original universe full of strange creatures and amazing sights. It's easy to be cynical about Star Wars given the billions of dollars it's earned selling everything from DVDs to toothbrushes, but returning to the original film with fresh eyes will remind you just how remarkable Star Wars was -- and continues to be. Families can talk about the heavy merchandising of Star Wars: Episode IV: A New Hope in the decades since its release. Kids: Did watching the movie make you want to buy toys or games related to the movie? What's the appeal of owning something you've seen in a movie?",
+ "page_result": "\n\n \n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Star Wars: Episode IV: A New Hope Movie Review | Common Sense Media\n \n\n\n\n\n \n \n \n \n Skip to main content\n \n \n\n
By Matt Springer,\n Common Sense Media Reviewer \n \n
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Common Sense Media Reviewers
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\nCommon Sense Media reviewers include writers, editors, and child development experts. They're trained in creating high-quality parenting advice based on best practices in child development.\n
The forces of good and evil are very clearly defined in the film. The story's positive messages include hard work and perseverance paying off with results, the power of personal sacrifice in pursuit of a larger good, and accepting those who are different or difficult to get along with. Additional themes include courage, self-control, and teamwork.
The film's heroes overcome significant obstacles to work together and defeat the villains, making great personal sacrifice and demonstrating exceptional bravery. Princess Leia is a powerful female character who defies traditional stereotypes about what a princess should be.
The film strings together a series of battles that feature heavy sci-fi violence, including lasers and the film's version of swords (lightsabers). There are some brief images of burned bodies in the desert, pilots exploding while in the cockpits of their ships, an arm being severed (with blood), and the destruction of an entire planet seen from afar. The menacing central villain engages in a several acts of direct and indirect choking of other characters. Alien creatures vary in appearance; some some might appear scary to younger kids.
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\n Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.
No real-world brands or products are featured in the film, since it takes place in another galaxy. But the movie created a template for movie merchandising that persists to this day. Decades after release, its characters are still immortalized in action figures, video games, and countless other products.
Characters visit an intergalactic cantina where otherworldly beverages are served and strange substances are smoked. But it has no visible parallel to anything available in reality.
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\n Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.
Parents need to know that Star Wars: Episode IV: A New Hope is a classic 1977 sci-fi action blockbuster that may be more frightening than you recall. The central villain, Darth Vader, creates a menacing presence and engages in several acts of violence (threatening, choking). Another central character dies, though he just seems to disappear, and several minor characters die or are injured, though the images are brief or non-graphic. There are also a few instances of mild language, specifically \"damn\" and \"hell,\" plus plenty of insults. Some families may take issue with the film's spiritual philosophies built around \"the Force\" as the central tenet of existence in the universe. For kids of the right age, this movie is an unforgettable ride through a vast galaxy of imaginative concepts and characters. Of the films in the Star Wars series, this one offers the best and mildest balance of drama and action for younger viewers. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
\n This is the first CSM rating I've ever completely disagreed with. I understand there may be lots of parent Star Wars fans who can overlook the violence, but for most kids under 11, this is too much. There is a severed arm, burned bodies, a death by strangulation, and lots of warfare. My daughter (age 10) begged me to see it for the last two years and I finally relented based on CSM recommendations. Big mistake on my part.\n
\n I am really shocked that the CSM and the majority think this movie is \"perfect for sharing with the kids\" and appropriate for 7 year olds. Usually CSM seems super cautious in their ratings and we mentally add a couple years onto their age recommendation, but absolutely regretted putting this on to watch with our kids. \n\nFirst up, Luke's aunt and uncle (his effect parents) are murdered in a horrible fire. There is constant gun shoot outs (albiet no blood or gore). Darth Vader is quite scary. One of the characters cuts a guy's arm off. The main characters are almost crushed in a pit.\n\nMy 8yo left the room and stopped watching a quarter way in, and we barely toughed it out to the end with our second child.\n\nAnd when all that stuff isn't happening, the story line is incredibly slow and all political talk. I don't understand how younger kids can even follow the story line at all. \n\nI just dont see how this is a movie good for kids at all.\n
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What's the Story?
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Set \"a long time ago, in a galaxy far, far away,\" STAR WARS was the first movie released in the eventual six-film saga. Episode IV: A New Hope begins the adventures of Luke Skywalker (Mark Hamill), a lowly farmboy from the planet Tatooine who finds himself swept into an intergalactic civil war after encountering R2D2 (Kenny Baker) and C3P0 (Anthony Daniels), two droids carrying secret plans for an engine of destruction known as the Death Star. Luke brings the droids to former Jedi Knight Obi-Wan Kenobi (Alec Guinness) who unexpectedly leads the motley crew into the hands of the evil Empire via the starship of smuggler Han Solo (Harrison Ford) and his Wookie sidekick, Chewbacca (Peter Mayhew). The heroes rescue the captured Princess Leia (Carrie Fisher) and escape the Death Star just in time to lead a rebel assault against the space station and the vile Darth Vader (David Prowse/James Earl Jones), Dark Lord of the Sith.
This is one of those films that has become sewn into the very fabric of our popular culture. And yet, every day new kids are born who have never seen it. Watched through the lens of a young child, some of the scarier moments of the film suddenly become more striking. Darth Vader is one of the great film villains for a reason -- he's a frightening figure who engages in some very real moments of violence. With the continued prominence of the Star Wars story through animated series, video games, and toys, it may be tempting to introduce the films to children when they are too young to handle these more intense moments.
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But if kids are old enough or mature enough to handle these moments, then it's likely that Star Wars: Episode IV: A New Hope will blow their little minds. It remains an enduring classic for the same reasons it made such an explosive impression way back in 1977. It's full of pulse-pounding action lifted straight from the classic 1930s film serials, it's got humor and character to spare, and the story guides you effortlessly into a completely original universe full of strange creatures and amazing sights. It's easy to be cynical about Star Wars given the billions of dollars it's earned selling everything from DVDs to toothbrushes, but returning to the original film with fresh eyes will remind you just how remarkable Star Wars was -- and continues to be.
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Talk to Your Kids About ...
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Families can talk about the heavy merchandising of Star Wars: Episode IV: A New Hope in the decades since its release. Kids: Did watching the movie make you want to buy toys or games related to the movie? What's the appeal of owning something you've seen in a movie?
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Movies have changed so much since the late 1970s, when this film was released. Does it still seem exciting, or did you realize you were watching an older film at times?
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What's the impact of the violence in this movie? Does the fact that the special effects look old fashioned change the way the violence comes across?
\nResearch shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new \"Diverse Representations\" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by\n \n suggesting a diversity update.\n \n
Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.
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+ "page_last_modified": " Wed, 13 Mar 2024 15:49:48 GMT"
+ },
+ {
+ "page_name": "Star Wars: Episode IV - A New Hope (1977) - Awards - IMDb",
+ "page_url": "https://www.imdb.com/title/tt0076759/awards/",
+ "page_snippet": "Star Wars: Episode IV - A New Hope (1977) - Awards, nominations, and winsShared with: Star Wars: Episode I - The Phantom Menace \u00b7 Star Wars: Episode II - Attack of the Clones \u00b7 Star Wars: Episode III - Revenge of the Sith \u00b7 Star Wars: Episode V - The Empire Strikes Back \u00b7 Star Wars: Episode VI - Return of the Jedi ... As Darth Vader. The award for David Prowse was given posthumously. The award for David Prowse was given posthumously. ... Lucas Licensing has recorded more than 100 million sales of Star Wars related books, with over 850 novelizations, original novels, reference books, children's books and role-playing supplements, including 80 New York Times best-sellers. As part of the collection \"Star Wars: The Complete Saga\". As a part of \"Star Wars Trilogy\".",
+ "page_result": "Star Wars: Episode IV - A New Hope (1977) - Awards - IMDb
Lucas Licensing has recorded more than 100 million sales of Star Wars related books, with over 850 novelizations, original novels, reference books, children's books and role-playing supplements, including 80 New York Times best-sellers. The first original novel based on Star Wars characters was Splinter of the Mind's Eye (1978), written by Alan Dean Foster (USA).
Please enable browser cookies to use this feature.\u00a0Learn more.
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+ "page_last_modified": ""
+ },
+ {
+ "page_name": "Star Wars: Episode IV A New Hope | Wookieepedia | Fandom",
+ "page_url": "https://starwars.fandom.com/wiki/Star_Wars:_Episode_IV_A_New_Hope",
+ "page_snippet": "Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Wars original trilogy and the first Star Wars film released. The film is set 19 years after the formation of the Galactic Empire and the ...Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Wars original trilogy and the first Star Wars film released. The film is set 19 years after the formation of the Galactic Empire and the events of Revenge of the Sith; construction has finished on the Death Star, a weapon capable of destroying a planet. The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled simply Star Wars and, later, Star Wars Episode IV: A New Hope, to reflect the retitling of the film. Certain scenes deleted from the film (and later restored or archived in DVD bonus features) were present in the novel, such as Luke at Tosche Station with Biggs and the encounter between Han and Jabba in Docking Bay 94. Other deleted scenes from the movie, such as a close-up of a stormtrooper riding on a Dewback, were included in a photo insert added to later printings of the book. The New York Times described Star Wars: Episode IV A New Hope as \"the most beautiful movie serial ever made.\" Roger Ebert called the film \"an out-of-body experience,\" compared its special effects to those of 2001: A Space Odyssey, and opined that the true strength of the film was its \"pure narrative.\"[69] Vincent Canby called the film \"the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure.\"[70] The film earned $797,900,000 worldwide, making it the first film to reach the $300 million mark.[67] Adjusted for inflation it is the second highest grossing movie of all time in the United States, behind Gone with the Wind.[68] The New York Times described Star Wars: Episode IV A New Hope as \"the most beautiful movie serial ever made.\"",
+ "page_result": "\n\n\n\nStar Wars: Episode IV A New Hope | Wookieepedia | Fandom\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\n\n\t\n\n\t\n\n\t\n\n\t\n\n\t\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t
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\"A film for a generation growing up without fairy tales.\"
Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Warsoriginal trilogy and the first Star Wars film released.\n
Inspired by films like the Flash Gordonserials and the samurai films of Akira Kurosawa, as well as such critical works as Joseph Campbell'sThe Hero with a Thousand Faces and Frank Herbert's Dune books, Lucas began work on Star Wars in 1974. Ground-breaking in its use of special effects, this is considered to be among the most successful\u2014and most influential\u2014films of all time. Produced with a budget of US$11,000,000 and released on May 25, 1977, the film became one of the most successful of all time, earning $215 million in the United States and $337 million overseas during its original theatrical release, as well as winning several film awards, including 10 Academy Award nominations. It was re-released several times, sometimes with significant changes; the most notable versions were the 1997 Special Edition and the 2004 DVD, which were modified with CGI effects and recreated scenes. It was re-released in the Blu-ray format in September of 2011. The film was selected to be preserved by the Library of Congress as part of its National Film Registry. The film was selected in 1989, the program's first year in existence.\n
It is a period of civil war.\nRebel spaceships, striking\nfrom a hidden base, have won\ntheir first victory against\nthe evil Galactic Empire.\n\nDuring the battle, Rebel\nspies managed to steal secret\nplans to the Empire's\nultimate weapon, the DEATH\nSTAR, an armored space\nstation with enough power\nto destroy an entire planet.\n\nPursued by the Empire's\nsinister agents, Princess\nLeia races home aboard her\nstarship, custodian of the\nstolen plans that can save her\npeople and restore\nfreedom to the galaxy....
Princess Leia is kidnapped by the Galactic Empire.
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The ship is captured, and several Imperial stormtroopers come aboard. After defeating the small number of guards defending the ship, the Sith LordDarth Vader arrives to assess the damage. Vader is outraged and questions Captain Antilles, whom he eventually strangles and kills. Hiding on the ship, Princess Leia is able to record a holographic message with the help of R2-D2, and gives the droid the plans for the Death Star and the responsibility of taking the message to Obi-Wan Kenobi, a Jedi-in-hiding on Tatooine. Leia is spotted by stormtroopers and they shoot her with a stun blast and bring her before Vader. Leia claims she and the ship's crew were on a diplomatic mission to Alderaan, but is disbelieved by Vader, who denounces her as a traitor and has her taken prisoner. Vader orders a message be sent to the Imperial Senate, informing them that the ship was destroyed, with everyone on board killed. R2-D2 and C-3PO use an escape pod in order to escape the ship and reach the planet of Tatooine below.\n
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Luke's destiny
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Luke Skywalker receives his father's lightsaber.
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\"There's nothing for me here now. I want to learn the ways of the Force and become a Jedi like my father.\"
After arguing and going their separate ways for a while, the droids are individually picked up by Jawa traders and brought aboard a Sandcrawler. They are later bought by moisture farmer Owen Lars and his nephew, Luke Skywalker, a young farmer who lost his parents as a baby and hopes to one day be a starfighter pilot just like his friends. While cleaning R2, Luke discovers the hologram, at the mention of Obi Wan, he wonders if she means his neighbor Ben Kenobi.\n
While eating dinner with Owen and his Aunt Beru Whitesun Lars, Owen asks Luke to take R2 to Anchorhead the next day to have his memory wiped, and expresses his hope Luke will stay with them for one more harvest season before sending his application to the Academy. R2 escapes from the Lars' homestead in search of Obi-Wan, whom the droid claims to be the property of. Luke and C-3PO search the desert and find R2 the next day, only to be attacked by Sand people. Luke and his droids are rescued by Ben Kenobi, who confirms he is Obi-Wan.\n
At his home, Obi-Wan gives Luke his father's lightsaber, as Obi-Wan recalls his own friendship with Luke's father. He tells Luke that he and his father were a part of the Jedi order that once protected the galaxy before the Empire took over and that Darth Vader was once his apprentice before he fell to the dark side of the Force and murdered Luke's father. After viewing Princess Leia's message carried by R2-D2, Obi-Wan attempts to persuade Luke to accompany him to Alderaan. Luke refuses to go until the group discovers the remains of the Sandcrawler, the Jawas having been killed by stormtroopers searching for the droids. Realizing this, Luke hurries home only to find his aunt and uncle's charred remains, having been brutally murdered by the same stormtroopers.\n
Luke returns upset, but Obi-Wan tells him there was nothing he could do, and that he would have been killed too and the plans would be in possession of the Empire. With nothing keeping him on Tatooine, Luke, Obi Wan, and the two droids travel to Mos Eisley to find passage to Alderaan, Princess Leia's home planet.\n
Aboard the Death Star, Cassio Tagge argues with Conan Antonio Motti about the stations vulnerability to the rebels and points out that the rebellion has been gaining support within the imperial senate. Wilhuff Tarkin enters the room with Darth Vader and informs them that the Emperor has dissolved the senate completely, sweeping away the last remnant of the Old Republic. Believing fear will keep the galaxy in line, Motti boasts the power of the Death Star, to which Vader replies that its power is insignificant compared to the Force. When Motti mocks Vader's belief in the Force, Vader Force chokes him until Tarkin orders him to stop, and expresses his own desire to crush the Rebellion.\n
Back in Mos Eisley, Luke, Obi-Wan and the Droids run into a patrol of stormtroopers, who ask for their identification. Obi-Wan uses a Jedi Mind trick on the lead trooper, who lets them pass. Arriving at Chalmun's Spaceport Cantina, the group hires smugglerHan Solo and his First Mate, a Wookiee named Chewbacca, for 17,000 credits, 2,000 in advance and 15,000 upon arrival, to take the four of them to Alderaan aboard their ship, the Millennium Falcon. After Han has a brief run-in with Greedo over his debts to crime lord Jabba The Hutt, which ends with Han fatally shooting Greedo, they make it to the Falcon's hanger. A brief scuffle with stormtroopers and henchmen sent by Jabba ensues, and the Falcon escapes Imperial Star-Destroyers over Tatooine and sets a course to Alderaan, unaware that the Death Star has just arrived there as well.\n
Leia, having resisted being tortured with a Mind probe for the location of the Rebel Alliance's headquarters, is brought before Grand Moff Tarkin. Tarkin threatens to use the Death Star's Superlaser on Leia's Homeworld of Alderaan if she does not tell them the Rebel base's location. She reluctantly tells them the base is on Dantooine, but Tarkin orders Alderaan to be destroyed anyway for its role in supporting the rebels.\n
Tarkin and Vader discover that Leia lied about the Rebel bases location when their forces only discover the ruins of a base on Dantooine. Tarkin orders her to be executed.\n
Having docked with the Death Star, Solo and the others ambush two stormtroopers and the Imperial scanning crew sent to investigate the Falcon by hiding in hidden smuggling compartments. With Han and Luke now disguised as the two stormtroopers, the group storms a control room to figure out how to escape. Obi-Wan separates from the group to disable the tractor beam, leaving the others alone. While connected to the Imperial Network, R2-D2 discovers Princess Leia is aboard the station and is set for termination. Luke convinces Han and Chewbacca to rescue her with the vague promise of a grand reward. Han and Chewbacca reluctantly agree. Luke plans to march into Detention Block AA-23, claiming that Chewbacca is part of a prisoner transfer. C-3PO and R2-D2 are instructed to remain behind, and the trio sets off on their rescue attempt. Upon being met with suspicion, they are quick to subdue the officers and guards in the princess's cell block. Luke frees Leia from her cell, but the group are pinned down by a squad of stormtroopers. Leia takes charge, blasting a hole in a nearby grate and jumping through while Chewbacca, Luke, and Han all dive after the princess.\n
The chute ends up leading to a garbage compactor that is also home to a residentdianoga. Soon after landing, the creature pulls Luke under the surface, but releases him and is scared away when the Imperials realize where the heroes escaped to and activate the compactor. As the walls close in on the foursome, Luke desperately calls to C-3PO over his comlink asking for the compactor to be shut down. Leia struggles to get to the top and Chewbacca tries to unlock the door. R2-D2 manages to shut down the compactor just in time, although, amidst the muffled cries of joy over the comlink, C-3PO is briefly convinced that his master and friends have been crushed.\n
After escaping from the trash compactor, the group hurries back to the Millennium Falcon, hoping that Obi-Wan has successfully shut down the tractor beam. Leia and Han bicker about who is in charge of the mission, while Han muses no reward is worth dealing with Leia's scathing criticism. Luke and Leia briefly become separated from Han and Chewie when Han chases after a group of stormtroopers, only to run into a whole battalion and be chased by them instead. Luke and Leia nearly run into a large chasm and are forced to swing across with a Grappling hook amongst blaster fire, with Leia giving Luke a brief kiss \"for luck\". The group soon rejoins and makes there way back to the Falcon.\n
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Sacrifice and victory
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\"You can't win, Darth. If you strike me down, I shall become more powerful than you can possibly imagine.\"
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\"This will be a day long remembered. It has seen the end of Kenobi. It will soon see the end of the Rebellion.\"
Meanwhile, Obi-Wan, remaining completely undetected, shuts down the tractor beam. Vader, however, had sensed his presence through the Force, and, while Obi-Wan makes his way to the Millennium Falcon, confronts his old master and engages him in a lightsaber duel. Luke and the others make it back to the Falcon, where Luke and several stormtroopers witness the battle. Sparing one last glance at Luke, Obi-Wan allows himself to be struck down by Vader, thus becoming one with the Force and allowing Luke and the others to escape. Horrified and angered at having witnessed Obi-Wan's demise at the hands of Vader, Luke and the others are forced to flee on the Millennium Falcon under a hail of blaster fire from the stormtroopers.\n
Still mourning Obi-Wan's death, Luke helps Solo fend off a squadron of TIE fighters. Despite their supposed victory, Leia correctly believes the empire let them go in order to track them to the rebel base. The crew of the Falcon finally meets the Rebel Alliance on the moon of Yavin 4, and the information in R2-D2 is turned over to them. GeneralDodonna plans the attack on the Death Star, as the plans reveal a weakness in the Death Stars design in the form of a thermal exhaust port leading to the station's reactor. Believing a direct hit with Proton torpedos will cause a chain reaction that will destroy the station, Dodanna tells the pilots to man their ships in preparation for the battle. To Luke's dismay, Han leaves after receiving his reward to settle his debts.\n
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Rebel fighters approach the Death Star.
\t\t \t\n
The Rebel strike force begins its attack on the Death Star, as the space station approaches Yavin-4. A group of X-wing, and Y-wing starfighters, Luke among them, assault a trench on the Death Star's surface to hit the station's vulnerable spot before it can destroy the Alliance's base. During this, most of the Rebel craft, including Luke's friend Biggs Darklighter, are picked off by a group of Imperial fighters led by Darth Vader. Tarkin is told by an imperial officer that the Rebels do pose a danger, but Tarkin refuses to evacuate in their supposed moment of triumph. With the Death Star only minutes from being in range to destroy Yavin-4, Luke makes one last run down the trench toward the exhaust port. Just as Vader opens fire on Luke from his personal TIE Advanced fighter, Han returns in the Millennium Falcon and attacks the Imperials, resulting in Vader's ship getting knocked out of the trench. Luke, aided by the voice of Kenobi and guided by the Force, accurately fires two proton torpedoes into the exhaust port, and the battle station explodes, killing Tarkin and everyone on board, while Vader escapes into space.\n
The few remaining ships (those of Wedge Antilles, Luke, Han, and a Y-wing Pilot) return to Yavin 4 and a victory ceremony commences, where medals are presented to the heroes, Han Solo and Luke Skywalker, by Princess Leia, as the rebels give them a standing ovation.\n
\n
Development
\n
Conception
\n
During post-production on his previous film, American Graffiti, Lucas repeatedly discussed the concept of a \"space opera\" with producer Gary Kurtz. In January 1973 Lucas began work on this, and by May had prepared a 14-page story outline for distribution among film studios.[5] He had originally envisioned the film as being a continuation of both American Graffiti and Apocalypse Now (the latter of which he helped make before Warner Bros. Studios shut down his studio of American Zoetrope and thus forced him to hand over development to his compatriot, Francis Ford Coppola). His note for the basic plotline for the film, which was intended to be a response to the Vietnam War era, was that it involved \"a technological empire going after a small band of freedom fighters.\"[6][7] According to Walter Murch, a former associate of Lucas when the latter was filming Apocalypse Now, the space opera setting was conceived in large part because, due to the Vietnam War still going on, the audiences would not have been receptive to a direct attack on American involvement in Vietnam.[8][9] Because of its outer space setting, the story was viewed as science fiction, an unpopular genre at the box office. Lucas later proposed that terms like \"space fantasy\" or \"science fantasy\" better fit the story.[5] He brought the outline to Universal Studios and United Artists; both rejected the project (the former refused directly, while the latter withheld their answer until after the 10 day wait period ended).[6][10][7] He also turned to Walt Disney Studios Motion Pictures, though they also turned him down.[6][7] Lucas disliked the studio system because his previous two films, American Graffiti and THX 1138, had been re-edited without his consent.[11] Still, aware that studios were unavoidable, he pursued Alan Ladd, Jr., the head of 20th Century Fox. Although Ladd did not grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd \"invested in me, [but] he did not invest in the movie.\"[5]\n
As the draft developed, the characters evolved significantly. Early in development, Luke Skywalker's character changed from a 60-year-old general to a member of a family of dwarfs;[5][12] the Corellian smuggler, Han Solo, was envisioned as a large, green-skinned monster with gills.[12]Chewbacca was inspired by Lucas' Alaskan malamute dog, Indiana, who often acted as the director's \"co-pilot\" by sitting in the passenger seat of his car.[12] The Force, a mysterious energy field, was initially conceived as the Kyber crystal, a \"galactic holy grail.\"[13][5] The completed script was too long for one movie; however, Lucas refused to condense it. Instead, he expanded the first third of it into one movie and left the rest for two future films, effectively creating the original Star Wars trilogy.[14][5][15]\n
Lucas hired conceptual artist Ralph McQuarrie to create paintings of certain scenes during screenwriting. When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings.[16] 20th Century Fox approved a budget of $8,250,000; American Graffiti's positive reviews allowed Lucas to renegotiate his deal with Alan Ladd, Jr. and request the sequel rights to the film. For Lucas, this deal protected Star Wars' unwritten segments and most of the merchandising profits.[5][17]\n
In 1975, Lucas founded the visual effects company Industrial Light & Magic (ILM) after discovering that 20th Century Fox's visual effects department had been disbanded. ILM began its work on Star Wars in a warehouse in Van Nuys, California. Lucas himself bought old equipment for pennies on the dollar.[18] traditionally, models were filmed by moving them in front of a stationary camera.[19] Most of the visual effects used motion control photography, which creates the illusion of size by employing small models and slowly moving cameras called the Dykstraflex.[18] all the models would be shot in front of a blue screen, which would allow the placement of other elements into the scene, this process is called optical compositing.[18] the team the special effects team retooled an optical printer that allowed separate film strips to be photographed and combined onto a single layer of film.[18] artists created matt paintings to increase the scope and production value of a scene, by extending environments painted on glass, that would be photographed and combined with live-action elements.[18] Model spaceships were constructed on the basis of drawings by Joe Johnston, input from Lucas, and paintings by McQuarrie. Lucas opted to abandon the traditional sleekness of science fiction by creating a \"used universe\" in which all devices, ships, and buildings looked aged and dirty.[5][20][21]\n
When filming began on March 22, 1976 in the Tunisian[22] desert for the scenes on the planet Tatooine, the project faced several problems.[source?] Lucas fell behind schedule in the first week of shooting due to a rare Tunisian rainstorm, malfunctioning props, and electronic breakdowns.[23] When actor Anthony Daniels wore the C-3PO outfit for the first time, the left leg piece shattered down through the plastic covering his left foot, stabbing him. After completing filming in Tunisia, production moved into the more controlled environment of Elstree Studios, near London.[23] However, significant problems, such as a crew that had little interest in the film, still arose.[5][23] Most of the crew considered the project a \"children's film,\" rarely took their work seriously, and often found it unintentionally humorous.[24] Actor Kenny Baker later confessed that he thought the film would be a failure.[25]Harrison Ford found the film \"weird,\" in that there was a princess with buns for hair and what he called a \"giant in a monkey suit\" named Chewbacca.[source?] Ford also found the dialogue difficult, saying, \"You can type this shit, George, but you sure can't say it.\"[26]\n
Lucas clashed with Director of PhotographyGilbert Taylor, whom producer Gary Kurtz called \"old-school\" and \"crotchety.\"[5][27] Moreover, with a background in independent filmmaking, Lucas was accustomed to creating most of the elements of the film himself. His camera suggestions were rejected by an offended Taylor, who felt that Lucas was over-stepping his boundaries by giving specific instructions. Lucas eventually became frustrated that the costumes, sets and other elements were not living up to his original vision of Star Wars. He rarely spoke to the actors, who felt that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words \"faster\" and \"more intense.\"[5]\n
Ladd offered Lucas some of the only support from the studio; he dealt with scrutiny from board members over the rising budget and complex screenplay drafts. After production fell two weeks behind schedule, Ladd told Lucas that he had to finish production within a week or he would be forced to shut down production. The crew split into three units, led by Lucas, Kurtz, and production supervisor Robert Watts, respectively. Under the new system, the project met the studio's deadline.[5][23] ILM concluded shooting on April 22, 1977 with shot 110P, that of a Star Destroyer.[28]\n
Star Wars was originally slated for release in Christmas 1976; however, delays pushed the film's release to summer 1977. Already anxious about meeting his deadline, Lucas was shocked when his editor's first cut of the film was a \"complete disaster.\" After attempting to persuade the original editor to cut the film his way, Lucas replaced the editor with Paul Hirsch and Richard Chew. He also allowed his then-wife Marcia Lucas to aid the editing process while she was cutting the film New York, New York with Lucas' friend Martin Scorsese. Richard Chew found the film had an non-energetic pace; it had been cut in a by-the-book manner: scenes were played out in master shots that flowed into close-up coverage. He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously; whoever finished first moved on to the next.[5]\n
During production, the cast attempted to make Lucas laugh or smile as he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with hypertension and exhaustion and was warned to reduce his stress level.[5][23]Post-production was equally stressful due to increasing pressure from 20th Century Fox. Moreover, Mark Hamill's face was injured in a car accident, which made reshoots impossible.[23]\n
Meanwhile, ILM was struggling to achieve unprecedented special effects. The company had spent half of its budget on four shots that Lucas deemed unacceptable.[23] Moreover, theories surfaced that the workers at ILM lacked discipline, forcing Lucas to intervene frequently to ensure that they were on schedule.[5] With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months. Lucas inspired ILM by editing together aerial dogfights from old war films, which enhanced the pacing of the scenes.[5][19]\n
During the chaos of production and post-production, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an \"organic soundtrack.\" For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Burtt created the robotic voice of R2-D2 by filtering his voice through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a scuba tank implanted with a microphone.[29] Lucas never intended to use the voice of David Prowse, who portrayed Darth Vader in costume, because of Prowse's thick English West Country accent. He originally wanted Orson Welles to speak for Darth Vader. However, he felt that Welles' voice would be too recognizable, so he cast the lesser-known James Earl Jones.[30] Nor did Lucas intend to use Anthony Daniels' voice for C-3PO. Thirty well-established voice actors, such as Stan Freberg, read for the voice of the droid. According to Daniels, one of the major voice actors recommended Daniels' voice for the role.[5][12]\n
The \"Lost Cut\" of Star Wars was edited by John Jympson.[31] When Lucas screened an early cut of the film for his friends, among them directors Brian De Palma, John Milius and Steven Spielberg, their reactions were disappointing. Spielberg, who claimed to have been the only person in the audience to have enjoyed the film,[5] believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas later said that the group was honest and seemed bemused by the film. In contrast, Alan Ladd, Jr. and the rest of 20th Century Fox loved the film; one of the executives, Gareth Wigan, told Lucas, \"This is the greatest film I've ever seen,\" and cried during the screening. Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before.[5] Although the delays increased the budget from $8 million to $11 million, the film was still the least expensive of the Star Wars saga.\n
\n
Music
\n
From the very beginning, Lucas' intention for \"Star Wars\" was that it would have very familiar sounding music, that despite the extraordinary visuals and events occurring onscreen, the music would be reminiscent of Earth and of the past. To that end, he originally wanted to fill the film with tracked classical music from various composers, in a similar fashion to 2001: A Space Odyssey.[32] Lucas' friend, Steven Spielberg, recommended composer John Williams to Lucas after their recent collaboration on Jaws (1975). Spielberg convinced Lucas that he should meet with the composer, who in turn convinced him of the need for original music.[33] They also decided in this early meeting that the score should have a romantic musical sound, with leitmotifs for different characters and events, similar to the operas of Richard Wagner.[34]\n
Rough cuts of \"Star Wars\" used something called a \"temp score\", referring to musical material that was there to find a rhythm while editing but would not be kept in the final cut as it would be replaced by the final score. These temp tracks would help to inspire the direction John Williams was to take with his score as he began writing it.[35] Most of the temp tracks are not public knowledge, but some information has been revealed over the years. In one interview, editor Paul Hirsch confirmed that a cue from Bernard Herrmann's Psycho score containing the famous \"3-note motif\" was used to temp the scene where the heroes exit the smuggling chambers of the Millennium Falcon.[36] In another interview, Hirsch revealed that the opening to \"The Sacrifice\" from Igor Stravinsky's \"The Rite of Spring\" was used to temp the scene in the desert, the Jawa scenes were temped from other parts of the same piece, and the Main Title crawl was temped with the overture of Ivanhoe by Mikl\u00f3s R\u00f3zsa.[37] Later, in his own book, Hirsch would claim that the Main Title crawl was temped with Erich Korngold's theme to the 1938 Robin Hood. It is unknown which of these claims is correct. Also in his book, Hirsch mentions that the Cantina scene was tracked by Benny Goodman's \"Avalon\" from his Carnegie Hall performance, some of the early battle footage was tracked with \"Dance of the Adolescents\" from \"The Rite of Spring\", and the approach to the Death Star was temped with the music from the approach to Kong Island from Max Steiner's King Kong score.[38] In an interview, sound editor Ben Burtt said that Anton\u00edn Dvo\u0159\u00e1k's New World Symphony was temped into the medal ceremony (Hirsch mentioned this in his book too), and parts of Anton Bruckner's Ninth Symphony were temped as Luke's theme.[37] Homages to many of these known temp tracks appear in the final score. For example, the cue [1m5-2m1] Desert Song from Star Wars is extremely similar to the opening of the Stravinsky piece it was temped with. Further, the music in [1m2] Main Title that plays when the underbelly of the Star Destroyer flies over the camera is very similar to the ending of \"Mars - The Bringer of War\" from Holsts' \"The Planets\". Even the 3-note motif from Psycho appears in the very opening of the Star Wars cue [7m1-7m2 New] The Hatch Opens, exactly where the temp track would have been.\n
On January 10th, 1977, Williams was invited to the spotting sessions, where he watched a rough cut of the film with Lucas, music supervisor Lionel Newman, music editor Ken Wannberg, producer Gary Kurtz, and film editor Paul Hirsch.[37][38][39] Over the next several weeks, he would get to work writing the score. The way Williams wrote his score, he began by creating all the various leitmotifs and character themes (such as \"Luke's Theme\", \"Leia's theme\", and \"Ben's theme\", the \"Jawa theme,\" the \"Rebel Fanfare,\" and the \"Imperial motif\"). He then went on to create the actual score by stringing all the themes he created together in a way that would match up with what was happening on screen.[40] It's unknown exactly how long John Williams spent writing the score, but it is certain that he would have had at the absolute most no more than 8 weeks, given that they started recording on March 5th. This is unrealistic because there needed to have been time for the orchestrators to write out all the various parts for the players, so it is more likely that the score was completed in 7 weeks or less.\n
As with any creative process, parts of the score went through multiple revisions. One well-known example is the cue \"Lost R2\", which scores the famous \"binary sunset\" scene. This scene was originally scored with a very different sounding piece that contained \"Luke's theme\". When Lucas heard the cue, he asked if it could be rescored with \"Ben's theme\" because he felt it fit the scene better.[35] It can be argued that this opened the door for \"Ben's theme\" to be recontextualized into what we think of today as the \"Force theme\". Another interesting example of the score changing was the cue \"A Home Destroyed\". When this cue was written, it was designed to score the end of Ben's house, Leia's torture, the discovery of the attacked sandcrawler, and Luke returning home to find his guardians dead and his home burned. While Williams was writing the score, the film was re-edited so that the board room scene would occur where the torture scene used to be. This caused the cue to be split in half. The first 14 bars were recorded by themselves with a newly written ending featuring the \"Death Star theme\" for the transition to the boardroom scene. Then a second cue was recorded, being made up of bars 31-71 (attacked sandcrawler and burned homestead scenes) and bars 17-30 (Leia torture scene), with some new transition material written to join them.[41] This isn't the only time editing of the film would require changes to the score, but it is one of the only examples where a re-edit resulted in the score being changed before it was recorded. The rest of the edits were done too late, and the remaining score changes were left to be made artificially by Ken Wannberg.[38] After the writing of the score was completed, the orchestrations were performed by lead orchestrator Herbert Spencer, who was assisted by Arthur Morton, Angela Morley, Al Woodbury, Alexander Courage and Williams himself.[40]\n
\n
Complete cue list (as written)
\n
\n
\n
\n
Cue #\n
\n
Cue Title\n
\n
Orchestrator\n
\n
Notes\n
\n
\n
1m2\n
\n
Main Title\n
\n
unknown\n
\n
\n
\n
\n
1m3\n
\n
The War\n
\n
Herbert Spencer\n
\n
\n
\n
\n
1m4-2m1\n
\n
The Escape Hatch\n
\n
Herbert Spencer\n
\n
\n
\n
\n
1m5-2m1\n
\n
Desert Song\n
\n
Herbert Spencer\n
\n
\n
\n
\n
2m2\n
\n
The Little People\n
\n
Herbert Spencer\n
\n
replaced by 2m3 New\n
\n
\n
2m3 New (old 2m2)\n
\n
The Little People\n
\n
Herbert Spencer\n
\n
replaces 2m2\n
\n
\n
2m3\n
\n
More Little People\n
\n
Herbert Spencer\n
\n
replaced by 2m3 Rev.\n
\n
\n
2m3 Rev.\n
\n
More Little People\n
\n
Herbert Spencer\n
\n
replaces 2m3\n
\n
\n
2m4\n
\n
R-2\n
\n
Herbert Spencer\n
\n
\n
\n
\n
3m1\n
\n
The Princess Appears\n
\n
Herbert Spencer\n
\n
replaced by 3m1 Rev.\n
\n
\n
3m1 Rev.\n
\n
The Princess Appears\n
\n
Herbert Spencer\n
\n
replaces 3m1\n
\n
\n
3m2\n
\n
Lost R2\n
\n
Herbert Spencer\n
\n
replaced by 3m2 Rev.\n
\n
\n
3m2 Rev.\n
\n
Lost R2\n
\n
Herbert Spencer\n
\n
replaces 3m2; replaced by 3m2 New\n
\n
\n
3m2 New\n
\n
Lost R2\n
\n
unknown\n
\n
replaces 3m2 Rev.\n
\n
\n
3m3\n
\n
The Sand Speeder\n
\n
Herbert Spencer\n
\n
replaced by 3m3 Rev.\n
\n
\n
3m3 Rev.\n
\n
The Sand Speeder\n
\n
Herbert Spencer\n
\n
replaces 3m3\n
\n
\n
3m4-4m1\n
\n
The Sandman Attacks\n
\n
Herbert Spencer\n
\n
replaced by 3m4-4m1 Rev.\n
\n
\n
3m4-4m1 Rev.\n
\n
The Sandman Attacks\n
\n
Herbert Spencer\n
\n
replaces 3m4-4m1\n
\n
\n
4m2\n
\n
Obi-Wan Kenobi\n
\n
Arthur Morton\n
\n
\n
\n
\n
4m2A\n
\n
The Force\n
\n
Herbert Spencer\n
\n
\n
\n
\n
4m3\n
\n
The Princess Reappears\n
\n
Herbert Spencer\n
\n
\n
\n
\n
4m4\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaced by 4m4 Rev.\n
\n
\n
4m4 Rev.\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaced by *unknown* and 4m4A, as explained in the paragraph above\n
\n
\n
unknown\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaces 4m4 Rev.; made of bars 1-14 of the original 4m4 Rev. + two new bars (14A and 14B)\n
\n
\n
4m4A\n
\n
A Home Destroyed\n
\n
Herbert Spencer\n
\n
replaces 4m4 Rev.; made of bars 31-71 of the original 4m4 Rev. + new bar 72 + new bars (15 and 16) + old bars 17-30\n
\n
\n
5m1\n
\n
A Hive of Villainy\n
\n
Al Woodbury\n
\n
replaced by 5m1; known to exist due to mentions of it in manuscript\n
\n
\n
5m1\n
\n
A Hive of Villainy\n
\n
Al Woodbury\n
\n
replaces 5m1\n
\n
\n
unknown\n
\n
unknown (referred to as \"Cantina Band\")\n
\n
unknown\n
\n
\n
\n
\n
unknown\n
\n
unknown (referred to as \"Cantina Band #2\")\n
\n
unknown\n
\n
\n
\n
\n
5m6\n
\n
The Inner City\n
\n
Herbert Spencer\n
\n
replaced by 5m6 Rev.\n
\n
\n
5m6 Rev.\n
\n
The Inner City\n
\n
Herbert Spencer\n
\n
replaces 5m6\n
\n
\n
6m1\n
\n
Blasting Away\n
\n
Herbert Spencer\n
\n
\n
\n
\n
6m5 New\n
\n
The Destruction of Alderaan\n
\n
Al Woodbury\n
\n
Mistakenly spelled Alderon in the original manuscript\n
When it came time to record the score, Williams was given no choice but to record in London, presumably due to budget constraints and the fact that most of the film was shot in England.[37] He did have the choice of which orchestra he wanted to work with, and he ended up choosing the London Symphony Orchestra (LSO) due to its primary conductor being his friend Andr\u00e9 Previn. This was historically significant, as it was the first time Williams ever got to work with an organized symphony orchestra for a film.[35] Previous films of his usually recorded with freelance players. The score was recorded over the course of eight days between March 5th and March 16th of 1977 at Anvil Recording Studios in Denham, England.[34][35] People present at the sessions included John Williams himself, who was conducting, George Lucas, recording engineer Eric Tomlinson, his assistant Alan Snelling, and music editor Ken Wannberg. The orchestra itself was made up of 26 violins, 10 violas, 10 cellos, 6 basses, 11 woodwinds, 8 horns, 4 trumpets, 3 trombones, 2 tubas, 2 harps, 3 percussion, 1 timpani, 1 piano, and 1 celeste.[45] The score was recorded with approximately 23 microphones, placed at strategic positions around the orchestra. The mixing console, a Rupert Neve, had 24 inputs and 16 outputs. Recording engineer Eric Tomlinson used the console to create a live LCR (Left, Center, Right) mix while the orchestra was playing. The live mixes were recorded straight to two 35mm magnetic film recorders (with healthy Dolby A noise reduction applied). The live mix was also routed to tracks 1-3 of a Struder A80 16-track 2 inch recorder, with sections of the orchestra isolated on tracks 4-15 and a 50 hz pilot tone on track 16. The pilot tone could later be used for synchronization with the film during editing.[46][47] After the recording was completed, the best takes were combined into performance edits by music editor Ken Wannberg. He created performance edits using one of the 35mm mag recordings, as well as with the 16 track tapes. (note: a performance edit is where sections of different takes are combined together to create the best possible recording of a given cue) The 16 track tapes were intended both for backup purposes, and to be sent off to be remixed by John Neal for the eventual soundtrack release on LP. The 35mm edits would of course be further edited by Wannberg into the final stems for use in the film.[46][35][48]\n
\n
Complete cue list (as recorded) and recording session log
Total length of score (not including alternates or concert suites): 83:48\n
Total length of score (including alternates and concert suites): 90:34\n
\n
Score as it appears in the final film (all releases from 1977-1996)
\n
\n
\n
Score breakdown (non-Special Edition)\n
\n
\n
Timestamp in film\n
\n
Cue #\n
\n
Cue Title\n
\n
Scene Description\n
\n
Notes\n
\n
\n
0:01-0:21\n
\n
N/A\n
\n
20th Century Fox Fanfare (with Cinemascope Extension)\n
\n
Fox logo and Lucasfilm logo\n
\n
Composed by Alfred Newman. Recorded by Alfred Newman and the 20th Century Fox Orchestra in 1954. Interestingly, for the film stem, the master tapes of a stereo version of this cue could not be located in time. The cue was instead sourced directly from the 4-track film stems to River of No Return. That is why this cue is noticeably much lower quality in the film vs on subsequent soundtrack releases.[46]\n
\n
\n
0:29-2:43\n
\n
1m2\n
\n
Main Title\n
\n
Title crawl, opening space battle, Tantive IV is shot\n
\n
\n
\n
\n
2:35-6:13\n
\n
1m3\n
\n
The War\n
\n
Tantive IV is boarded, R2 receives plans from Leia, Darth Vader demands plans\n
\n
three microedits: the second note before the drumroll is slowed down by 35% at 3:11, ends up playing about a tenth of a second longer, same thing at 3:39, one second snipped out at 4:48\n
\n
\n
6:11-9:12\n
\n
1m4-2m1\n
\n
The Escape Hatch\n
\n
Princess Leia is captured, the droids escape, Vader sends attachment to Tatooine\n
\n
one microedit: 3 seconds snipped out at 8:33\n
\n
\n
10:27-11:25\n
\n
1m5-2m1\n
\n
Desert Song\n
\n
C-3PO wanders around the Dune Sea of Tatooine\n
\n
\n
\n
\n
12:30-15:22\n
\n
2m3 New (old 2m2)\n
\n
The Little People\n
\n
R2-D2 is captured by the Jawas, who take him to their Sandcrawler where they've already captured C-3PO\n
\n
six microedits: 1 second snipped at 12:36, 1 second snipped at 12:49, 15 seconds snipped at 12:51, 2 seconds snipped at 12:59, 67 seconds snipped at 13:05, a tenth second removed at 14:23\n
\n
\n
15:23-17:27\n
\n
2m3 Rev.\n
\n
More Little People\n
\n
The droids are brought out for sale at the Lars Homestead, introduction of Luke\n
\n
two microedits: In the film the opening of the cue is prepended by 6 seconds of tracked material from 10 seconds later in the cue. There is also a quarter second of silence added at 17:04\n
\n
\n
18:55-19:20\n
\n
2m4\n
\n
R-2\n
\n
C-3PO recommends purchasing R2-D2, both droids are taken inside by Luke\n
\n
\n
\n
\n
20:47-22:40\n
\n
3m1 Rev.\n
\n
The Princess Appears\n
\n
While cleaning the droids Luke accidentally stumbles on Leia's message to Obi-Wan Kenobi\n
\n
\n
\n
\n
24:50-27:05\n
\n
3m2 New\n
\n
Lost R2\n
\n
Luke watches the sunset while dreaming of leaving Tatooine, returns to the garage to find R2 gone\n
\n
\n
\n
\n
27:25-28:01\n
\n
3m3 Rev.\n
\n
The Sand Speeder\n
\n
Luke and C-3PO go out to look for R2-D2, some Tusken Raiders mobilize, the heroes find R2\n
\n
three microedits: 23 seconds snipped out at 27:31, 8 seconds snipped at 27:44, 2 seconds snipped at 27:53\n
\n
\n
28:16-30:28\n
\n
3m4-4m1 Rev.\n
\n
The Sandman Attacks\n
\n
A Tusken Raider attacks Luke, he is found by old Ben Kenobi\n
\n
three microedits: a quarter second removed at 28:19, a tenth second removed at 29:16, 1 second of tracked material from 7 seconds earlier used at 29:45 to artificially extend the cue\n
\n
\n
30:44-32:24\n
\n
4m2\n
\n
Obi-Wan Kenobi\n
\n
Ben wakes up Luke and takes him and the droids back to his house\n
\n
\n
\n
\n
33:47-34:47\n
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4m2a\n
\n
The Force\n
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Ben tells Darth Vader's backstory, and explains the Force\n
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34:45-34:46\n
\n
4m3\n
\n
The Princess Reappears\n
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R2-D2 plays Leia's full message for Ben and Luke\n
\n
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\n
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35:51-36:49\n
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4m4 Rev.\n
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A Home Destroyed bars 1-14B\n
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Luke promises to take Ben to Anchorhead\n
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38:46-41:36\n
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4m4A\n
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A Home Destroyed bars 31-72 + bars 15-30\n
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The heroes find a ransacked sandcrawler. Luke races home to find his house burned and his family dead.\n
\n
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41:20-43:21\n
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5m1\n
\n
A Hive of Villainy\n
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Jawa funeral, Luke decides to help Leia, Ben takes Luke and the droids to Mos Eisley\n
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\n
\n
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44:00-45:02\n
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unknown\n
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\"Cantina Band\"\n
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The heroes enter a cantina in Mos Eisley\n
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two microedits: 87 seconds snipped out at 44:29, 17 seconds snipped out at end\n
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45:02-46:10\n
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unknown\n
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\"Cantina Band\"\n
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Luke goes up to the bar and is attacked\n
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one microedit: 98 seconds snipped out at 46:10, 4 seconds before this are artificially faded out\n
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46:24-46:42\n
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unknown\n
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\"Cantina Band\"\n
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Ben tells Luke about Chewie\n
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one microedit: 149 seconds snipped out at 46:42, the quarter second before this is artificially faded out\n
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46:49-47:01\n
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unknown\n
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\"Cantina Band #2\"\n
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The heroes go back in the cantina to speak with Chewie and Han Solo\n
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two microedits: 5 seconds snipped out at 46:49, 185 seconds snipped out at 46:59, 53 seconds snipped out at 47:01\n
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47:01-47:48\n
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unknown\n
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\"Cantina Band #2\"\n
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The heroes speak to Han Solo\n
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two microedits: 5 seconds snipped out at 47:01, 183 seconds snipped out at 47:48\n
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47:48-49:00\n
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unknown\n
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\"Cantina Band #2\"\n
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The heroes negotiate with Han Solo\n
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two microedits: 15 seconds snipped out at 47:48, 147 seconds snipped out at 49:00\n
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49:06-50:22\n
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unknown\n
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\"Cantina Band #2\"\n
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Greedo confronts Han Solo about his debt to Jabba, Solo kills Greedo\n
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two microedits: 94 seconds snipped out at 49:06, 65 seconds snipped out at 50:22\n
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50:50-52:25\n
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5m6 Rev.\n
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The Inner City\n
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Ben and Luke head to the Millennium Falcon\n
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52:37-54:52\n
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6m1\n
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Blasting Away\n
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The heroes escape from Tatooine\n
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one microedit: 2 seconds snipped out at 53:12\n
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55:39-57:12\n
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6m5 New\n
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The Destruction of Alderaan\n
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Tarkin and Vader test the Death Star by blowing up Alderaan\n
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one microedit: 9 seconds from 56:41-56:50 are dialed out (replaced by silence)\n
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61:59-63:42\n
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7m1 New (old 6m3)\n
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Is It a Bird?\n
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The Millennium Falcon is pulled in by the Death Star's Tractor Beam\n
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one microedit: 4 second section from 63:22-63:26 is looped once to artificially extend the cue\n
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64:45-66:40\n
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7m1-7m2 New\n
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The Hatch Opens\n
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The heroes sneak out of the Falcon and take over a control room\n
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70:02-72:04\n
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7m2\n
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The Mouse Robot\n
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Han and Luke in stormtrooper disguises take Chewbacca to the prison block\n
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72:03-74:03\n
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8m2 New\n
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More Rescue\n
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Shootout with stormtroopers as the heroes find Leia's cell\n
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74:36-76:48\n
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8m2 Rev\n
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The Rescue\n
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More stormtroopers arrive, the heroes escape down the garbage chute\n
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One microedit: half a second is snipped out at 74:44\n
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79:26-82:13\n
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8m4\n
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The Walls Converge\n
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The droids evade stormtroopers and shut off all trash compactors on the detention level, saving the heroes\n
\n
One microedit: First 40 seconds are snipped out.\n
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82:31-85:06\n
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9m1\n
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Ben Creeps Around\n
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The heroes head towards the Falcon, Ben disables the tractor beam\n
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\n
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85:05-87:48\n
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9m2\n
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The Swashbucklers\n
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The heroes face off against stormtroopers on the way to the Falcon, Ben prepares to duel Vader\n
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Two microedits: 1 second snipped out at 87:13, 1 second snipped out at 87:15\n
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89:51-92:05\n
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9m3-10m1\n
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Ben's Death\n
\n
Luke watches Vader kill Ben, the heroes escape on the Falcon\n
\n
Two microedits: The 8 seconds from 90:28 to 90:36 are looped once, the 2 seconds from 91:32-91:34 are looped once\n
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\n
92:05-93:52\n
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10m2\n
\n
Here They Come\n
\n
The Falcon fights off pursuing TIE fighters\n
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\n
\n
\n
102:07-103:25\n
\n
10m3-11m1\n
\n
Stand By\n
\n
The Rebel X-Wings approach the Death Star\n
\n
Five microedits: the first 5 seconds are slowed by 7%, the next 13 seconds are slowed by 2%, the 1 second from 103:07-103:08 is looped once, the 2.5 seconds from 103:08-103:11 is looped once, a quarter second is snipped at 103:22\n
\n
\n
103:22-106:45\n
\n
11m2 Rev.\n
\n
Approaching the Target\n
\n
The Battle of Yavin begins\n
\n
\n
\n
\n
110:33-115:00\n
\n
12m1\n
\n
The Last Battle\n
\n
The Battle of Yavin ends, Luke blows up the Death Star\n
\n
Two microedits: half a second snipped at 110:46, quarter second silence added at 114:33\n
\n
\n
115:33-117:20\n
\n
12m2\n
\n
End Titles (bars 1-51)\n
\n
Award Ceremony\n
\n
\n
\n
\n
117:20-117:51\n
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12m2X\n
\n
End Titles\n
\n
End Credits Sequence\n
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\n
\n
\n
117:51-121:07\n
\n
12m2\n
\n
End Titles\n
\n
End Credits Sequence\n
\n
\n
\n
\n
Total length of music in movie: 80:37\n
\n
Soundtrack releases
\n
The score to Star Wars has had several releases over the years. While many of these releases have been straight reissues of previous releases, there are currently four releases with unique programs that were independently mastered from the original session tapes:[49]\n
A New Hope was originally presented in monaural sound in many theaters, though the first-run [[Wikipedid in monaural sound in many theaters, though the first-run 70mm prints were some of the earliest wide-release examples of surround sound\u2014something not seen in the commercial cinema since the Cinerama and Cinemascope experiments of the early 1950s.\n
\n
Sources and inspirations
\n
The film drew inspiration from a number of sources. This was conscious and has been acknowledged by George Lucas in interviews. It is characteristic of much myth-building.\n
Lucas has stated that Akira Kurosawa's 1958 film The Hidden Fortress (USA release 1962) was a strong influence. The resemblance between the two buffoon farmers in The Hidden Fortress and the two talkative droids in A New Hope is apparent. Indeed, when the droids find themselves alone on Tatooine, even the music and the style of \"wipe\" cuts are a clear homage to Hidden Fortress. When Motti is criticizing Darth Vader, he is about to mention the Rebels' \"hidden fortress\" before Vader cuts him off in the middle of the last word.\n
The climactic scene in which the Death Star is assaulted was modeled after (including some of the same dialogue) the 1950s film The Dam Busters, in which RAFLancaster bombers fly along heavily defended reservoirs and aim \"bouncing bombs\" at German man-made dams in a bid to cripple the heavy industry of the Ruhr. (A New Hope cinematographer Gilbert Taylor had previously worked on the special-effects sequences for that film.)\n
Lucas has made mention of the film 633 Squadron directed by Walter Grauman when citing movies that inspired themes or elements in A New Hope. The \"trench run\" in A New Hope wherein Luke flies his X-wing through a \"trench\" on the Death Star and destroys the ship was inspired, at least in small part, by the finale of 633 Squadron, which involves several Royal Air Force planes flying at low level up a fjord against heavy, ground-based anti-aircraft fire, to attack a factory located at the base of a cliff at the canyon's end.\n
\n
Release
\n
Wary that Star Wars would be beaten out by other summer films, such as Smokey and the Bandit, 20th Century Fox moved the release date to Wednesday before Memorial Day: May 25, 1977. However, few theaters ordered the film to be shown. In response, 20th Century Fox demanded that theaters order Star Wars if they wanted an eagerly anticipated film based on a best-selling novel titled The Other Side of Midnight.[5]The New York Times published the first advertisements for the film on May 15, only ten days before its premiere.[50]\n
Star Wars became an instant success upon release; within three weeks, 20th Century Fox's stock price doubled to a record high. Before 1977, 20th Century Fox's greatest annual profits were $37,000,000; in 1977, the company earned $79,000,000. Although the film's cultural neutrality helped it to gain international success, Ladd became anxious during the premiere in Japan. After the screening, the audience was silent, leading Ladd, Jr. to fear that the film would be unsuccessful. He was later told that, in Japan, silence was the greatest honor to a film. Meanwhile, thousands attended a ceremony at Grauman's Chinese Theater, where C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt.[5]\n
During the film's original theatrical run, there were a number of television promotions:\n
Charles Lippincott was hired by Lucas' production company, Lucasfilm Ltd., as marketing director for Star Wars. Because 20th Century Fox gave little support for marketing beyond licensing T-shirts and posters, Lippincott was forced to look elsewhere. He secured deals with Stan Lee, Roy Thomas and Marvel Comics for a comic book adaptation and with Del Rey Books for a novelization. Although Star Wars merchandise was available to enthusiastic children upon release, only Kenner Toys\u2014who believed that the film would be unsuccessful\u2014had accepted Lippincott's licensing offers. Kenner responded to the sudden demand for toys by selling boxed vouchers in its \"empty box\" Christmas campaign; these vouchers could be redeemed for the toys in March 1978.[5]\n
The novelization of the film was published in December 1976, six months before the film was released. The credited author was George Lucas, but the book was revealed to have been ghostwritten by Alan Dean Foster, who later wrote the first Expanded Universe novel, Splinter of the Mind's Eye. The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled simply Star Wars and, later, Star Wars Episode IV: A New Hope, to reflect the retitling of the film. Certain scenes deleted from the film (and later restored or archived in DVD bonus features) were present in the novel, such as Luke at Tosche Station with Biggs and the encounter between Han and Jabba in Docking Bay 94. Other deleted scenes from the movie, such as a close-up of a stormtrooper riding on a Dewback, were included in a photo insert added to later printings of the book. Smaller details were also changed; for example, in the Death Star assault, Luke's callsign is Blue Five instead of Red Five as in the film. Lippincott secured the deal with Del Rey Books to publish the novelization in November 1976. By February 1977, a half million copies had been sold.[5]\n
A radio drama adaptation of the film was written by Brian Daley, directed by John Madden, and produced for and broadcast on the American National Public Radio network in 1981. The adaptation received cooperation from George Lucas, who donated the rights to NPR. John Williams' music and Ben Burtt's sound design were retained for the show; Mark Hamill (Luke Skywalker) and Anthony Daniels (C-3PO) reprised their roles as well. The radio drama featured scenes not seen in the final cut of the film, such as Luke Skywalker's observation of the space battle above Tatooine through binoculars, a skyhopper race, and Darth Vader's interrogation of Princess Leia. In terms of Star Wars canon, the radio drama is given the highest designation, G-canon.[54]\n
Over the years, several comic adaptations of the film have been produced:\n
The film was originally released as\u2014and consequently often called\u2014Star Wars, without Episode IV or the subtitle A New Hope. The 1980 sequel, Star Wars: Episode V The Empire Strikes Back, featured the episode number and subtitle in the opening crawl. When the original film was re-released on April 10, 1981, Episode IV: A New Hope was added above the original opening crawl.[55] Although Lucas claims that only six films were ever planned, representatives of Lucasfilm discussed plans for nine or 12 possible films in early interviews.[56] The film was re-released theatrically in 1978, 1979, 1981, 1982, and 1997.\n
\n \t \t \t \t\t \t\t\t \t\t \t\t \t\t \t\t\t
Official poster for A New Hope Special Edition release
\t\t \t\n
After ILM used computer generated effects for Steven Spielberg's Jurassic Park, Lucas concluded that digital technology had caught up to his original vision for Star Wars.[5] As part of Star Wars' 20th anniversary celebration in 1997, A New Hope was digitally remastered and re-released to theaters, along with The Empire Strikes Back and Return of the Jedi, under the campaign title The Star Wars Trilogy: Special Edition. The Special Edition versions contained visual shots and scenes that were unachievable in the original release due to financial, technological, and time restraints; one such scene involved a meeting between Han Solo and Jabba the Hutt.[5] Although most changes were minor or cosmetic in nature, some fans believe that Lucas degraded the movie with the additions.[57] For instance, a controversial change in which Greedo shoots first when confronting Han Solo has inspired T-shirts brandishing the phrase \"Han shot first.\"[58]\n
A New Hope was released on DVD on September 21, 2004 in a box set with The Empire Strikes Back, Return of the Jedi, and a bonus disc of supplemental material. The movies were digitally restored and remastered, and more changes were made by George Lucas.\n
The DVD features a commentary track from George Lucas, Ben Burtt, Dennis Muren, and Carrie Fisher. The bonus disc contains the documentary Empire of Dreams: The Story of the Star Wars Trilogy, three featurettes, teaser and theatrical trailers, TV spots, still galleries, an exclusive preview of Star Wars: Episode III Revenge of the Sith, a playable Xbox demo of the LucasArts game Star Wars: Battlefront, and a \"Making Of\" documentary on the Episode III video game. The set was reissued in December 2005 as part of a three-disc \"limited edition\" boxed set without the bonus disc.\n
The trilogy was re-released on separate two-disc Limited Edition DVD sets from September 12, 2006 to December 31, 2006; the original versions of the films were added as bonus material. Controversy surrounded the release (often referred to as \"George's original unaltered trilogy\", or \"GOUT\" for short) because the so-called \"unaltered\" versions were from the 1993 non-anamorphiclaserdisc masters, and were not re-transferred to modern DVD standards.[59]\n
On April 7, 2015, the Walt Disney Studios, 20th Century Fox, and Lucasfilm jointly announced the digital releases of the six released Star Wars films. Fox released A New Hope for digital download on April 10, 2015 (while Disney released the other five films).[61]\n
Despite The Walt Disney Company's 2012 purchase of Lucasfilm and the release rights to all future Star Wars films, Fox was to retain original distribution rights to A New Hope, which they co-produced and co-financed, in perpetuity in all media worldwide. Fox was also to retain theatrical, nontheatrical, and home video rights worldwide for the franchise's five subsequent films, which Lucasfilm produced and financed independently, through May2020, at which time ownership was to transfer to Disney. This complex relationship between Fox and Disney, particularly in regards to Fox's perpetual rights to Episode IV, was to create an obstacle for any future boxed set comprising all nine films.[62] On December 14, 2017, The Walt Disney Company announced that it was acquiring most of Fox's parent company, 21st Century Fox, including the film studio and all distribution rights to A New Hope.[63] On March 20, 2019, the deal was officially completed.[64] On April 12, 2019, a Blu-ray box set containing the nine main installments of the Star Warssaga remastered in 4K was reportedly announced to be in development for a 2020 release.[65]\n
\n
Reception
\n
Star Wars debuted on May 25, 1977 in 32 theaters, and proceeded to break house records, effectively becoming one of the first blockbuster films.[66] It remains one of the most financially successful films of all time. Some of the cast and crew noted lines of people stretching around theaters as they drove by. Even technical crew members, such as model makers, were asked for autographs, and cast members became instant household names.[5] The film's original total U.S. gross came to $307,263,857, and it earned $6,806,951 during its first weekend in wide release. Lucas claimed that he had spent most of the release day in a sound studio in Los Angeles. When he went out for lunch with his then-wife Marcia, they encountered a long queue of people along the sidewalks leading to Mann's Chinese Theater, waiting to see Star Wars.[23] The film became the highest-grossing film of 1977 and the highest-grossing film of all time until E.T. The Extra-Terrestrial broke that record in 1982. (With subsequent re-releases, Star Wars reclaimed the title, but lost it again to James Cameron's 1997 blockbuster Titanic.) The film earned $797,900,000 worldwide, making it the first film to reach the $300 million mark.[67] Adjusted for inflation it is the second highest grossing movie of all time in the United States, behind Gone with the Wind.[68]\n
The New York Times described Star Wars: Episode IV A New Hope as \"the most beautiful movie serial ever made.\" Roger Ebert called the film \"an out-of-body experience,\" compared its special effects to those of 2001: A Space Odyssey, and opined that the true strength of the film was its \"pure narrative.\"[69]Vincent Canby called the film \"the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure.\"[70]\n
Pauline Kael of The New Yorker criticized the film, stating that \"there's no breather in the picture, no lyricism,\" and that it had no \"emotional grip.\"[71] Jonathon Rosenbaum of the Chicago Reader stated, \"None of these characters has any depth, and they're all treated like the fanciful props and settings!\"[72] Peter Keough of the Boston Phoenix said, \"Star Wars is a junkyard of cinematic gimcracks not unlike the Jawas' heap of purloined, discarded, barely functioning droids.\"[73] Stanley Kauffmann of The New Republic also responded negatively, noting, \"His work here seems less inventive than in THX 1138.\" According to rottentomatoes.com, of the 54 critical reviews of the film provided on that site, 51 responded favorably (95% of the reviewers), stating in consensus that \"the action and special effects are first rate.\"[74]\n
In 1989, the U.S. National Film Registry of the Library of Congress selected the film as a \"culturally, historically, or aesthetically important\" film.[75] In 2006, Lucas' original screenplay was selected by the Writers Guild of America as the 68th greatest of all time.[76] The American Film Institute (or AFI) listed it 15th on a list of the top 100 films of the 20th century;[77] in the UK, a poll created by Channel Four named A New Hope (together with its successor, The Empire Strikes Back) the greatest film of all time.[78] The American Film Institute has named Star Wars and specific elements of it to several of its \"top 100 lists\" of American cinema, compiled as a part of the Institute's 100th anniversary celebration. These include the 27th most thrilling American film of all time;[79] the thirty-ninth most inspirational American film of all-time;[80] Han Solo as the fourteenth greatest American film hero of all time and Obi-Wan Kenobi thirty-seventh on the same list.[81] The often repeated line \"May the Force be with you\" was ranked as the eighth greatest quote in American film history.[82]John Williams' score was ranked as the greatest American film score of all time.[83]\n
Originally, if the film did poorly at the box office, Lucas planned to turn the novel Splinter of the Mind's Eye into a low-budget sequel to the movie. According to an interview with Alan Dean Foster in Empire magazine, the book was written to be filmed as a low-budget sequel if Star Wars was not a huge success. Harrison Ford was not signed for the sequel as of the writing of the book, which is why Han Solo does not appear in the novel. However, with the success of A New Hope, Lucas was free to make The Empire Strikes Back.[source?]\n
\n
Deleted scenes
\n
There are many short alternate takes throughout Star Wars where Luke appears in his poncho: Luke in the desert, in the Tusken Raiders' canyon, Luke finding the destroyed homestead, and in the hangar on Yavin 4. The only poncho scenes that made the final cut were in Docking Bay 94, on the Millennium Falcon flight from the Death Star, and on arrival on Yavin 4.\n
\n
Aunt Beru's Blue Milk
\n
Beru is in the homestead, pouring a blue liquid into a jug.\n
Luke Skywalker is in the Tatooine desert repairing a moisture vaporator, assisted by a Treadwell droid, when he notices shining objects in the sky. With his macrobinoculars Luke sees two ships engaged in combat beyond the atmosphere. He jumps into his landspeeder. The malfunctioning Treadwell blows a fuse and is unable to follow. Luke speeds off into the desert to find his friends. The scene originally occurred after the Tantive IV is boarded, just before Darth Vader's first appearance in the film. It is thought that there is no longer any clear footage of this scene available. Existing footage has been degraded by poor film storage conditions over the years. Before the film was cut, this was the audience's first sight of the young Luke Skywalker, much earlier than in the final cut. It was removed along with subsequent scenes of Luke and his friends in Anchorhead. George Lucas had originally written the scenes and shot them at the suggestion of his industry friends who thought that audiences wouldn't understand the story strictly being told from a droid's point of view. Upon realizing that the story was really about the droids' adventures and it was them leading things to Luke and Obi-Wan, etc. Lucas took the footage out.\n
Tosche Station
\n
Luke's landspeeder races into the town of Anchorhead, nearly running over an old woman. Luke rushes into Tosche Station excitedly telling his friends about the battle above their planet. He is overjoyed to be reunited with his friend Biggs Darklighter who is on planet leave from the Academy. Deak, Windy, Camie, Fixer and Biggs all follow Luke outside to see the battle with Luke's macrobinoculars. The battle appears to have ended and Luke's friends ridicule him for making it all up. This scene was to come just after R2-D2 and C-3PO eject from the Tantive IV in an escape pod, and before the scene where PrincessLeia is led captive before Darth Vader. This scene establishes Luke's difficult relationships with his peers, and gives a picture of life on Tatooine. Storyline pacing may have been the deciding factor, but it should also be borne in mind that after Lucas's first screening of the rough cut of Star Wars in 1977, a fellow filmmaker jokingly accused him of producing \"American Graffiti in space.\" This jibe probably influenced Lucas to cut the scenes set in Anchorhead. The sequence where Luke nearly runs down an old woman was an effects shot that was never completed.\n
\n
Luke and Biggs
\n \t \t \t \t\t \t\t\t \t\t \t\t \t\t \t\t\t
Luke says farewell to Biggs
\t\t \t\n
This scene is a conversation between Luke and his oldest friend, Biggs Darklighter. Biggs has left Tatooine and is on planet leave from the Imperial Academy where he is training to be a space pilot. Luke's envy of Biggs's success conflicts with his duty to his uncle and his reasons for remaining on Tatooine. Biggs quietly tells Luke that he has decided to join the Rebellion against the Empire. In a tense and emotional conversation, the two young men say their final farewells. This scene was to come in between the scene where C-3PO spots a distant Jawa sandcrawler in the desert, and the capture of R2-D2 by the Jawas in the canyon. The Luke and Biggs sequence was part of the whole Anchorhead backstory on Tatooine, and was cut along with the other early scenes on Tatooine, probably for reasons of story pacing.\n
\n
Vader and Chief Bast
\n
In this short scene, Darth Vader and Chief Bast walk along a corridor on the Death Star. Bast reports that the search for the missing droids has extended to Mos Eisley spaceport. Vader observes that Princess Leia is resisting interrogation, and Bast boldly criticizes Tarkin's plan to break her as \"foolish.\" The scene would have appeared between the scene where Han Solo encounters Jabba the Hutt in Docking Bay 94 (also cut), and the scene where Luke and Ben find the Millennium Falcon in Docking Bay 94.\n
\n
The Search for R2
\n \t \t \t \t\t \t\t\t \t\t \t\t \t\t \t\t\t
C-3PO pilots the landspeeder
\t\t \t\n
R2-D2 has absconded from his new master, Luke Skywalker. Early in the morning, Luke and Threepio rush off in the landspeeder to search for R2, with Threepio driving the landspeeder. They talk about Artoo, Ben Kenobi, and how angry Uncle Owen is going to be. The scene belongs at the start of the sequence where Luke and 3PO search for R2, before the attack of the Tusken Raiders. The moment was scored with a light version of Luke's theme; the music can be heard at the beginning of the cue \"Land of the Sand People\" on the original LP and CD configurations, or \"Landspeeder Search\" in the Special Edition album. Before the days of CGI, scenes like this landspeeder cockpit sequence had to be filmed against a rear-projection screen. The scene was dropped due to poor quality.\n
\n
Stormtrooper Search
\n
Various alien creatures are seen walking around a narrow street in Mos Eisley, and some Stormtroopers walk past.\n
\n
Darth Vader widens the Search
\n
This is a scene with Darth Vader and another Imperial officer on the Death Star.\n
Plasterers — Tashy Baines, George Block, Jack Armor, George Gillard, Tommy Wallace, Alex Isard, Gordon Isard, Steve Brown, Ray Staples[114]
\n
Bermans and Nathans (costumier) — Monty Berman, Fred Brazier, Noel Howard, Philip Linke, Dennis Fitzgerald, Roy Smith, Gerald Moulin, Stephen Miles[114]
\u2191By comparing the credits for all releases from 1977 to present (7/1/22), we can conclude that the only teams that went back to the original masters were the OST (1977 - led by John Williams), Anthology (1993 - led by Ford A Thaxton), SE (1997 - led by Michael Mattessino), and Remastered (2018 - led by Shawn Murphy). Every other release is a reissue of one of these four\n
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