I'm still making my way through all 35 issues of Bantha Tracks. #BanthaTracks19 brings us an interview with the great makeup artist, sculptor, and Yoda model Stuart Freeborn!
Freeborn here calls Greedo one of his favorite creature designs, and describes the mask's origin as a "Pea-Man" for a UK commercial. The "mohawk of quills" was a necessary addition to cover the seam that he had to cut because the plastic had stiffened up!
Freeborn worked on 2001, and says the opening sequence featured apes instead of Neanderthals for reasons of modesty. That was his first creature work, and the ape mouth mechanism was reused for Chewie (as well as getting him the gig!).
Freeborn was put in the hospital during the production of Star Wars by a toxic material he was using for creature design, opening the door for Rick Baker to step in and finish the job. Creature work is more dangerous than I expected (less so now, I hope).
I've heard Yoda described as a frog before, but this is the first time I've seen someone suggest that his head bumps are meant to be vestigial scales from an aquatic ancestor. I guess Freeborn would know!
At the time of the interview he was just about to head over to the States for Ewok work. The Ewok actors weren't available for fittings in England, so their costumes had to be made from measurements.
The dear departed Peter Mayhew wasn't scheduled for an interview, but he was kind enough to take some time with the Fan Club crew while they were visiting Elstree.
Big news: Revenge of the Jedi is now officially Return of the Jedi! George claims that was always the real title, and "Revenge" was just a working title for Jedi. Truth, or patented George Lucas revisionist history? 🧐 (I don't remember lobby posters saying "Blue Harvest".)
A cartoon from an Australian fan, with a very recognizable George behind the box of artificial snow.
Another potentially achievable collectible for the modern fan? "One of the most exquisite patches ever made."
Rev—ReTURN of the Jedi is just three months away, and Maureen Garrett is three exclamation marks' worth of all-caps excited. (Check out that cutie-pie dewback!) The Force is with us!
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Don't want to discuss TV spoilers, so instead let's go through another issue of Bantha Tracks! #BanthaTracks22 came out November 1983, and features an interview with modelmakers Lorne Peterson and Steve Gawley, as well as proof that Fett's Vette was actually a Porsche. Read on!
The model shop's job for RotJ was bigger than for either of the two previous movies. Those tunnels the Falcon flies through at the end were built in sections that totaled over three hundred feet!
They achieved that feat using plumbing fixtures and a whooole lot of cardboard tubes. I marked with an arrow where I think you can see the spiral pattern in the cardboard. I love "Don't tell me — you're from Lucasfilm, right?"
There's a decades-old tendency in Star Wars fandom to minimize the sensitive/naïve/childlike/goofy parts of Star Wars (Tarzan yell, Ewoks, Jar Jar, Chewie's fear), to label them departures from what some think Star Wars "really" is (badass). It's always been both.
As we aged out of the ideal target audience for Star Wars (under 13), we (mostly dudes) became suspicious of the soft parts of Star Wars, and either mocked them or segregated them in their own box — okay at the time, but no more of that please. More Boba Fett, implacable killer!
But it's all part of the text. It's all on the same level (all "canon"), whether you like it or not. It's not (just) a joke that Malakili loved and bonded with his rancor; it's part of Star Wars. If a writer chooses to focus on it, that's just as Star Wars as Vader in Rogue One.
This meme got (rightfully) dunked on on Star Wars Twitter a few days ago, but it taps into something that's been rolling around in my head for a while: the transition from pulp heroes to modern heroes.
The pulp heroes of the serials that inspired Star Wars start out heroic and don't change much over the course of their stories. We don't see Flash Gordon or the Lone Ranger learning to be heroes. George Reeves' Superman and pre-Craig James Bond start and end as paragons.
The pleasure in these stories comes from watching an ultracompetent hero go through their paces; we don't want to see them learn or stumble, we want to see them steadily overcome the odds with style and grace. It's satisfying, though sometimes dismissed as juvenile or simple.
Happy #MayThe4thBeWithYou! As a present, I've gotten you all a thread about the Holdo maneuver, and whether it "breaks canon," inspired by a conversation I had recently with a couple of EU fans. It did not, and I'm about to prove it's the wrong question to ask anyway. ATTEND!
The Holdo maneuver was set up in 1977, by Han explaining what happens when you hit something in hyperspace. That begs the question "What happens to the thing you hit?" A star or a supernova would proooobably be fine, but what about a ship? We don't get an answer.
(Incidentally, George Lucas basically lifted his version of hyperspace directly from Asimov's Foundation trilogy, so that's a good place to get a peek into his thought process.)
Hats off to the folks who think Rey is a Mary Sue power fantasy and somehow don’t think the EU was.
(And this has been bugging me since I posted that screenshot: EXPANDED Universe. It’s the EXPANDED Universe. Yeesh.)
If you haven’t been following me for a while, you might be interested in this thread, which goes a little deeper into my thoughts about the EU and TLJ: