Star Wars Pocket Watch Pendant Stamps Darth Vader Death Star Silver Gold Coin US • £79.99 (2024)

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Seller: lasvegasormonaco ✉️ (3,984) 99.6%, Location: Manchester, Take a look at my other items, GB, Ships to: WORLDWIDE, Item: 266969791701 Star Wars Pocket Watch Pendant Stamps Darth Vader Death Star Silver Gold Coin US. Dramatic Presentation. 55 November 30, 2018 – October 2, 2020. Original trilogy: Episodes IV–VI. Booker, M. Keith; Thomas, Anne-Marie (March 30, 2009). The Science Fiction Handbook. John Wiley & Sons. Star Wars Pocket Watch with Box Gift Set + Memorabilia This is a Star Wars Pocket Watch Complete with Leather Dark Blue Gift Box and Memorabilia Silver + Gold Plated Darth Vader Death StarCoin 2 Stamp Sheets - A New Hope + Princess Leia Star Wars Gold Logo Necklace Quartz Watch Keeps Excellent Time Complete with Chain Unisex Suitable for a Man or Woman The Chain is 800mm in lenght The Watch is 42mm in diameter The half hunter watch and is opened by pressing the top The watch keeps perfect time The Coin is 50mm in diameter and it is quite heavy weighting in at just over 83 gramsThe Height of the curved Death Star dome 10.8mm A wonderful collectable piece for anyone who likes Star Wars Click Here to Check out my Other Star Trek Items Bid with Confidence - Check My 100% Positive Feedback from over 3000 Satisfied Customers I have over 10 years of Ebay Selling Experience - So Why Not Treat Yourself? I have got married recently and need to raise funds to meet the costs also we are planning to move into a house together I always combined postage on multiple items Instant Feedback Automatically Left Immediately after Receiving Payment All Items Sent out within 24 hours of Receiving Payment. Overseas Bidders Please Note Surface Mail Delivery Times > Western Europe takes up to 2 weeks, Eastern Europe up to 5 weeks, North America up to 6 weeks, South America, Africa and Asia up to 8 weeks and Australasia up to 12 weeks Thanks for Looking and Best of Luck with the Bidding!! Also if bidding from overseas and you want your item tracked please select the International Signed for Postage Option For that Interesting Conversational Piece, A Birthday Present, Christmas Gift, A Comical Item to Cheer Someone Up or That Unique Perfect Gift for the Person Who has Everything....You Know Where to Look for a Bargain! 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Spain * Sri Lanka * Sudan * Suriname * Svalbard (NO) * Swaziland * Sweden * Switzerland * Syria * Taiwan * Tajikistan * Tanzania * Thailand * Togo * Tokelau (NZ) * Tonga * Trinidad and Tobago * Tunisia * Turkey * Turkmenistan * Turks and Caicos Islands (GB) * Tuvalu * U.S. Minor Pacific Islands (US) * U.S. Virgin Islands (US) * Uganda * Ukraine * United Arab Emirates * United Kingdom * United States * Uruguay * Uzbekistan * Vanuatu * Vatican City * Venezuela * Vietnam * Wallis and Futuna (FR) * Yemen * Zambia * Zimbabwe and major cities such as Tokyo, Yokohama, New York City, Sao Paulo, Seoul, Mexico City, Osaka, Kobe, Kyoto, Manila, Mumbai, Delhi, Jakarta, Lagos, Kolkata, Cairo, Los Angeles, Buenos Aires, Rio de Janeiro, Moscow, Shanghai, Karachi, Paris, Istanbul, Nagoya, Beijing, Chicago, London, Shenzhen, Essen, Düsseldorf, Tehran, Bogota, Lima, Bangkok, Johannesburg, East Rand, Chennai, Taipei, Baghdad, Santiago, Bangalore, Hyderabad, St Petersburg, Philadelphia, Lahore, Kinshasa, Miami, Ho Chi Minh City, Madrid, Tianjin, Kuala Lumpur, Toronto, Milan, Shenyang, Dallas, Fort Worth, Boston, Belo Horizonte, Khartoum, Riyadh, Singapore, Washington, Detroit, Barcelona,, Houston, Athens, Berlin, Sydney, Atlanta, Guadalajara, San Francisco, Oakland, Montreal, Monterey, Melbourne, Ankara, Recife, Phoenix/Mesa, Durban, Porto Alegre, Dalian, Jeddah, Seattle, Cape Town, San Diego, Fortaleza, Curitiba, Rome, Naples, Minneapolis, St. Paul, Tel Aviv, Birmingham, Frankfurt, Lisbon, Manchester, San Juan, Katowice, Tashkent, f*ckuoka, Baku, Sumqayit, St. Louis, Baltimore, Sapporo, Tampa, St. Petersburg, Taichung, Warsaw, Denver, Cologne, Bonn, Hamburg, Dubai, Pretoria, Vancouver, Beirut, Budapest, Cleveland, Pittsburgh, Campinas, Harare, Brasilia, Kuwait, Munich, Portland, Brussels, Vienna, San Jose, Damman , Copenhagen, Brisbane, Riverside, San Bernardino, Cincinnati and Accra Star Wars Article Talk Read View source View history Tools Appearance hide Text Small Standard Large Width Standard Wide Color (beta) Automatic Light Dark Page semi-protected From Wikipedia, the free encyclopedia This article is about the media franchise. For the film, see Star Wars (film). For other uses, see Star Wars (disambiguation). Star Wars Created by George Lucas Original work Star Wars (1977)[a] Owner Lucasfilm Years 1977–present Print publications Book(s) List of reference books Novel(s) List of novels Short stories See list of novels Comics List of comics Comic strip(s) See list of comics Magazine(s) Star Wars Insider (1987–present) Films and television Film(s) List of films Television series List of television series Television special(s) See list of television series Television film(s) See list of films Games Role-playing List of RPGs Video game(s) List of video games Audio Radio program(s) List of radio dramas Original music Music Miscellaneous Toy(s) Merchandise Theme park attraction(s) List of attractions Star Wars is an American epic space opera media franchise created by George Lucas, which began with the eponymous 1977 film[a] and quickly became a worldwide pop culture phenomenon. The franchise has been expanded into various films and other media, including television series, video games, novels, comic books, theme park attractions, and themed areas, comprising an all-encompassing fictional universe.[b] Star Wars is one of the highest-grossing media franchises of all time. The original 1977 film, retroactively subtitled Episode IV: A New Hope, was followed by the sequels Episode V: The Empire Strikes Back (1980) and Episode VI: Return of the Jedi (1983), forming the original Star Wars trilogy. Lucas later returned to the series to write and direct a prequel trilogy, consisting of Episode I: The Phantom Menace (1999), Episode II: Attack of the Clones (2002), and Episode III: Revenge of the Sith (2005). In 2012, Lucas sold his production company to Disney, relinquishing his ownership of the franchise. This led to a sequel trilogy, consisting of Episode VII: The Force Awakens (2015), Episode VIII: The Last Jedi (2017), and Episode IX: The Rise of Skywalker (2019). All nine films, collectively referred to as the "Skywalker Saga", were nominated for Academy Awards, with wins going to the first two releases. Together with the theatrical live action "anthology" films Rogue One (2016) and Solo (2018), the combined box office revenue of the films equate to over US$10 billion, making Star Wars the third-highest-grossing film franchise of all time. Premise The Star Wars franchise depicts the adventures of characters "a long time ago in a galaxy far, far away"[2] across multiple fictional eras, in which humans and many species of aliens (often humanoid) co-exist with droids, which may be programmed for personal assistance or battle.[3] Space travel between planets is common due to lightspeed hyperspace technology.[4][5][6] The planets range from wealthy, planet-wide cities to deserts scarcely populated by primitive tribes. Virtually any Earth biome, along with many fictional ones, has its counterpart as a Star Wars planet which, in most cases, teem with sentient and non-sentient alien life.[7] The franchise also makes use of other astronomical objects such as asteroid fields and nebulae.[8][9] Spacecraft range from small starfighters to large capital ships, such as the Star Destroyers, as well as space stations such as the moon-sized Death Stars.[10][11][12] Telecommunication includes two-way audio and audiovisual screens, holographic projections, and hyperspace transmission.[13] The universe of Star Wars is generally similar to the real universe but its laws of physics are less strict allowing for more imaginative stories.[14] One result of that is a mystical power known as the Force which is described in the original film as "an energy field created by all living things ... [that] binds the galaxy together".[15] The field is depicted as a kind of pantheistic god.[16] Through training and meditation, those whom "the Force is strong with" exhibit various superpowers (such as telekinesis, precognition, telepathy, and manipulation of physical energy).[17] It is believed nothing is impossible for the Force.[18] The mentioned powers are wielded by two major knightly orders at conflict with each other: the Jedi, peacekeepers of the Galactic Republic who act on the light side of the Force through non-attachment and arbitration, and the Sith, who use the dark side by manipulating fear and aggression.[19][20] While Jedi Knights can be numerous, the Dark Lords of the Sith (or 'Darths') are intended to be limited to two: a master and their apprentice.[21] The franchise is set against a backdrop of galactic conflict involving republics and empires, such as the evil Galactic Empire.[22] The Jedi and Sith prefer the use of a weapon called the lightsaber, a blade of plasma that can cut through virtually any surface and deflect energy bolts.[23] The rest of the population, as well as renegades and soldiers, use plasma-powered blaster firearms.[24] In the outer reaches of the galaxy, crime syndicates such as the Hutt cartel are dominant.[25] Bounty hunters are often employed by both gangsters and governments, while illicit activities include smuggling and slavery.[25] The combination of science fiction and fantasy elements makes Star Wars a very universal franchise, capable of telling stories of various genres.[26] Films Main article: List of Star Wars films The Skywalker Saga Film U.S. release date Directed by Screenplay by Story by Produced by Refs. Original trilogy: Episodes IV–VI Star Wars May 25, 1977 George Lucas Gary Kurtz [27][28] The Empire Strikes Back May 21, 1980 Irvin Kershner Leigh Brackett and Lawrence Kasdan George Lucas [29][30] Return of the Jedi May 25, 1983 Richard Marquand Lawrence Kasdan and George Lucas Howard Kazanjian [31][32] Prequel trilogy: Episodes I–III The Phantom Menace May 19, 1999 George Lucas George Lucas George Lucas Rick McCallum [33] Attack of the Clones May 16, 2002 George Lucas and Jonathan Hales [34][35] Revenge of the Sith May 19, 2005 George Lucas [36][37] Sequel trilogy: Episodes VII–IX The Force Awakens December 18, 2015 J. J. Abrams Lawrence Kasdan, J. J. Abrams and Michael Arndt Kathleen Kennedy, J.J. Abrams and Bryan Burk [31][38] The Last Jedi December 15, 2017 Rian Johnson Kathleen Kennedy and Ram Bergman [39][40] The Rise of Skywalker December 20, 2019 J. J. Abrams Chris Terrio and J. J. Abrams Derek Connolly, Colin Trevorrow, J.J. Abrams, and Chris Terrio Kathleen Kennedy, J. J. Abrams and Michelle Rejwan [41][42] Darth Vader (left), Emperor Palpatine (center), and Luke Skywalker (right) The Star Wars film series centers around three sets of trilogies, the nine films of which are collectively referred to as the "Skywalker Saga".[43] The saga was produced non-chronologically, beginning in media res with the release of the original trilogy between 1977 and 1983. This was followed by the prequel trilogy, released between 1999 and 2005, and the sequel trilogy, released between 2015 and 2019.[44] Each trilogy focuses on a generation of the Force-sensitive Skywalker family and their struggle against the evil Sith lord Palpatine (Darth Sidious).[45] The original trilogy depicts the heroic development of Luke Skywalker as a Jedi and his fight against Palpatine's Galactic Empire alongside his sister, Leia.[46] The prequels tell the tragic backstory of their father, Anakin, who is corrupted by Palpatine and becomes Darth Vader.[47] The sequels follow the conflict between Leia's son, Ben Solo, and Luke and Leia's protegé, Rey, and their eventual alliance against Palpatine after the fall of the Empire.[48] Original trilogy Main article: Star Wars original trilogy The original trilogy's main cast includes (from left to right) Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia), and David Prowse (Darth Vader). In 1971, George Lucas wanted to film an adaptation of the Flash Gordon serial, but could not obtain the rights, so he began developing his own space opera.[49][c] After directing American Graffiti (1973), he wrote a two-page synopsis, which 20th Century Fox decided to invest in.[50][51] By 1974, he had expanded the story into the first draft of a screenplay.[52] Fox expected the film would be of limited financial success, and so it was given a relatively low budget, with production being moved to Elstree Studios in England to help save on cost.[53] Star Wars was released on May 25, 1977, and first subtitled Episode IV: A New Hope in the 1979 book The Art of Star Wars.[54] The film's success led Lucas to make it the basis of an elaborate film serial.[55] With the backstory he created for the sequel, Lucas decided that the series would be a trilogy of trilogies.[56] Episode V: The Empire Strikes Back was released on May 21, 1980, also achieving wide financial and critical success. The final film in the trilogy, Episode VI: Return of the Jedi, was released on May 25, 1983. Prequel trilogy Main article: Star Wars prequel trilogy The prequel trilogy's main cast includes (from left to right) Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Padmé Amidala), Hayden Christensen (Anakin Skywalker),[d] and Ian McDiarmid (Palpatine). According to producer Gary Kurtz, loose plans for a prequel trilogy were developed during the outlining of the original two films.[57] In 1980, Lucas confirmed that he had the nine-film series plotted,[58] but due to the stress of producing the original trilogy, he had decided to cancel further sequels by 1981.[59] In 1983, Lucas explained that "There was never a script completed that had the entire story as it exists now ... As the stories unfolded, I would take certain ideas and save them ... I kept taking out all the good parts, and I just kept telling myself I would make other movies someday."[60] Technical advances in the late 1980s and early 1990s, including the ability to create computer-generated imagery (CGI), inspired Lucas to consider that it might be possible to revisit his saga. In 1989, Lucas stated that the prequels would be "unbelievably expensive".[61] In 1992, he acknowledged that he had plans to create the prequel trilogy.[62] A theatrical rerelease of the original trilogy in 1997 "updated" the 20-year-old films with the style of CGI envisioned for the new trilogy.[63] Episode I: The Phantom Menace was released on May 19, 1999, Episode II: Attack of the Clones on May 16, 2002, and Episode III: Revenge of the Sith on May 19, 2005.[64] The first two films were met with mixed reviews, with the third being received somewhat more positively. Together with the original trilogy, Lucas has referred to the first six episodic films of the franchise as "the tragedy of Darth Vader".[65] Sequel trilogy Main article: Star Wars sequel trilogy The sequel trilogy's main cast includes (from left to right) Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), and Oscar Isaac (Poe Dameron). Prior to releasing the original 1977 film, and made possible by its success, Lucas planned "three trilogies of nine films".[56][66] However, he announced to Time in 1978 that he planned "10 sequels".[67] He confirmed that he had outlined the prequels and sequels in 1981.[68] At various stages of development, the sequel trilogy was to focus on the rebuilding of the Republic,[69] the return of Luke as a Jedi Master (a role similar to that of Obi-Wan Kenobi in the original trilogy),[66] Luke's sister (not yet determined to be Leia),[57] Han, Leia,[70] R2-D2 and C-3PO.[56][71] However, after beginning work on the prequel trilogy, Lucas insisted that Star Wars was meant to be a six-part series and that there would be no sequel trilogy.[72][73] Lucas decided to leave the franchise in the hands of other filmmakers, announcing in January 2012 that he would make no more Star Wars films.[74] That October, the Walt Disney Company agreed to buy Lucasfilm and announced that Episode VII would be released in 2015.[75] The co-chairman of Lucasfilm, Kathleen Kennedy, became president and served as executive producer of new Star Wars feature films.[76] Lucas provided Kennedy his story treatments for the sequels during the 2012 sale,[77] but in 2015 it was revealed Lucas's sequel outline had been discarded.[78][79] The sequel trilogy also meant the end of the Star Wars Expanded Universe stories, which were discarded from canon to give "maximum creative freedom to the filmmakers and also preserve an element of surprise and discovery for the audience."[1] Episode VII: The Force Awakens was released on December 16, 2015, Episode VIII: The Last Jedi on December 13, 2017, and Episode IX: The Rise of Skywalker on December 18, 2019, in many countries.[e] The Force Awakens and The Last Jedi were both critical and box office successes.[80][81] Episode IX received a mixed reception from critics and audiences.[82] Standalone films Film U.S. release date Directed by Screenplay by Story by Produced by Refs. Rogue One: A Star Wars Story December 16, 2016 Gareth Edwards Chris Weitz and Tony Gilroy John Knoll and Gary Whitta Kathleen Kennedy, Allison Shearmur and Simon Emanuel [83] Solo: A Star Wars Story May 25, 2018 Ron Howard Jonathan Kasdan & Lawrence Kasdan [84] Several Star Wars films have been produced separately from the Skywalker Saga. In 2008, Lucasfilm released the animated film The Clone Wars, which is set during the prequel trilogy and serves as the theatrical pilot of the television series of the same name.[85] Following Disney's acquisition of Lucasfilm in 2012, an "anthology" film series set between the main episodes of the Skywalker Saga entered development in parallel with the production of the sequel trilogy,[86] described by Disney chief financial officer Jay Rasulo as origin stories.[87] The anthology films' main casts include (from left to right) Felicity Jones (Jyn Erso) and Diego Luna (Cassian Andor) from Rogue One and Alden Ehrenreich (Han Solo) and Woody Harrelson (Tobias Beckett) from Solo. The first film released was 2016's Rogue One, which tells the story of the rebels who steal the plans for the Death Star, the Galactic Empire's superweapon, just before the events of the original Star Wars film.[88][89] A second film, 2018's Solo, tells Han Solo's backstory, set 10 years prior to A New Hope.[90] The series Obi-Wan Kenobi was originally planned as a film, but changed to a limited series due to Solo underperforming at the box office.[91] Upcoming films Film U.S. release date Directed by Screenplay by Story by Produced by Status Refs. The Mandalorian & Grogu May 22, 2026 Jon Favreau Jon Favreau and Dave Filoni Jon Favreau, Kathleen Kennedy and Dave Filoni Filming [92][93] Untitled New Jedi Order film TBA Sharmeen Obaid-Chinoy Steven Knight Kathleen Kennedy Pre-production [94] Untitled Dawn of the Jedi film James Mangold James Mangold and Beau Willimon[95] In development [94] Untitled New Republic film Dave Filoni Kathleen Kennedy and Jon Favreau [94] In April 2023, three new Star Wars films were announced to be set within different eras of the franchise.[96] An untitled film written and directed by James Mangold will be set during the "dawn of the Jedi".[96] Dave Filoni will direct a film set between the original and sequel trilogies during the New Republic era, serving as the climax of the various live-action television series that began with The Mandalorian in 2019.[96] Sharmeen Obaid-Chinoy will direct a third film about a new Jedi Order, set fifteen years after the sequel trilogy.[94][97] In January 2024, it was announced that Jon Favreau would direct a new Star Wars film, titled The Mandalorian & Grogu.[98] In February of the same year, Bob Iger announced that the film would be the first release of the next slate of Star Wars movies.[99] The Mandalorian & Grogu is scheduled for release on May 22, 2026.[93] Other potential projects Lucasfilm has a number of Star Wars films in various stages of development, including: Untitled Rian Johnson trilogy: In November 2017, a trilogy of movies written by The Last Jedi writer/director Rian Johnson was announced to be in development.[100][101] In April 2023, Kennedy stated that trilogy of films is still in open development at the studio, with the writer/director working on the story, although it is not currently a priority.[102] Untitled David Benioff & D. B. Weiss trilogy: In February 2018, it was announced that David Benioff and D. B. Weiss would serve as writers and producers on a trilogy of new Star Wars movies.[103] The plot would take place chronologically before the prequel trilogy, and center around the origin of the Jedi.[104] By May 2019, the duo were also slated to serve as co-directors of the first installment in their three films.[105] In October of the same year however, the filmmaking duo exited development of the projects due to scheduling conflicts with projects they are developing for Netflix. Kennedy stated that the studio is open to working with the duo, and developing their films once their schedule allows it.[106] In January 2024, the filmmaking duo announced that the working title was The First Jedi and would have followed the titular ancient protagonist. The pair cast doubt on returning to their planned trilogy, commenting on its apparent influence on James Mangold's similarly premised Dawn of the Jedi movie.[107] Untitled Taika Waititi film: In May 2020, Taika Waititi signed onto the project which was stated to be the first priority for the studio, with the filmmaker Waititi serving as director from a script he is co-writing with Krysty Wilson-Cairns.[108] In May 2022, the movie was named as the next Star Wars film to begin production ahead of Rogue Squadron, with Kennedy stating that the studio was tentatively looking towards late 2023 for a debut, but had not yet officially set a release date.[109][110] By April 2023, she stated that the project is still in development, with Waititi continuing to work on the script.[111][102] Rogue Squadron: An anthology film, following the events of Rogue One, will be directed by Patty Jenkins with a script written by Matthew Robinson.[112] In April 2023, Kennedy stated that the script is still in development, with the studio considering changing the project into a television series.[113] In March 2024, Jenkins announced that she had once again commenced working on the script; confirming that developments for the project are ongoing.[114] Untitled J.D. Dillard film: In February 2020, a film was announced to be in development from director J. D. Dillard and writer Matt Owens;[115] although, Dillard announced he was no longer to direct that film in November 2022.[116] Star Wars: A Droid Story: In December 2020, an animated film centered around the adventures of R2-D2 and C-3PO was announced as being in development; the story will introduce a new heroic character to the franchise, alongside the two returning droids. The project will be a joint-venture production between Lucasfilm Animation, and Industrial Light & Magic. The film is being developed to debut via streaming, exclusively through Disney+.[117][118][119] Untitled Shawn Levy film: In November 2022, Shawn Levy entered talks to direct a Star Wars film, following his work on Deadpool & Wolverine (2024) and the fifth and final season of Stranger Things.[120] In September 2023, Levy said that development on his Star Wars film began, but would not continue until after the conclusion of the 2023 Writers Guild of America strike.[121] Lando: In December 2020, a spin-off series to Solo: A Star Wars Story was announced as being in development. The limited series which was being developed exclusively for Disney+ was revealed to be centered around Landonis "Lando" Calrissian III, titled Lando. Donald Glover was confirmed at that time to be reprising the lead role, while Justin Simien was named as the series creator and showrunner. By July 2020 however, Donald and Stephen Glover were hired to replace Simien, write and redevelop the show.[122] In September 2023, the show was repurposed to be released as a theatrical film instead.[123] Television Main article: List of Star Wars television series Series Seasons Episodes Originally released Network Animated series Droids 1 13 September 7, 1985 – June 7, 1986 ABC Ewoks 2 26 September 7, 1985 – December 13, 1986 The Clone Wars 7 133 October 3, 2008 – May 4, 2020 Cartoon Network / Netflix / Disney+ Rebels 4 75 October 3, 2014 – March 5, 2018 Disney XD Resistance 2 40 October 7, 2018 – January 26, 2020 Disney Channel The Bad Batch 3 47 May 4, 2021 – May 1, 2024 Disney+ Visions 2 18 September 22, 2021 – present Tales 2 12 October 26, 2022 – present Young Jedi Adventures 2 36 May 4, 2023 – present Disney+ / Disney Jr. Animated micro-series and shorts Clone Wars 3 25 November 7, 2003 – March 25, 2005 Cartoon Network Blips 1 8 May 3 – September 4, 2017 YouTube Forces of Destiny 2 32 July 3, 2017 – May 25, 2018 Galaxy of Adventures 2 55 November 30, 2018 – October 2, 2020 Roll Out 1 16 August 9, 2019 – April 1, 2020 Galaxy of Creatures 2 24 October 14, 2021 – February 21, 2023 StarWarsKids.com Galactic Pals 1 12 April 12 – November 1, 2022 "Zen – Grogu and Dust Bunnies" Short 1 November 12, 2022 Disney+ Fun with Nubs 1 10 June 14 – July 26, 2024 StarWarsKids.com Live-action series The Mandalorian 3 24 November 12, 2019 – present Disney+ The Book of Boba Fett 1 7 December 29, 2021 – February 9, 2022 Obi-Wan Kenobi 1 6 May 27 – June 22, 2022 Andor 1 12 September 21, 2022 – present Ahsoka 1 8 August 22, 2023 – present The Acolyte 1 8 June 4 – July 16, 2024 Game shows Jedi Temple Challenge 1 10 June 10 – August 5, 2020 StarWarsKids.com Animated series The first two animated series, Droids and Ewoks, were produced in the 1980s.[124] They were followed by the Clone Wars animated micro-series in 2003 and the 2008 series of the same name. Following Disney's acquisition of Lucasfilm, all animated series released prior to 2014, apart from the 2008 series, were discarded from the franchise's canon.[1] Subsequent animated series include Rebels, released in 2014; Resistance, released in 2018; and The Bad Batch, released in 2021. Several micro-series and shorts have also been released by Lucasfilm since Disney's acquisition, with the earlier animated series falling under Disney's "Vintage" collection of Star Wars content.[125][126] Live-action series The Star Wars franchise includes several live-action series. The first series, The Mandalorian, was released in 2019 for the streaming service Disney+ and is set between the original and sequel trilogies of the Skywalker Saga.[127] Due to its success, the series spawned multiple live-action spin-offs set during the same fictional era, including The Book of Boba Fett, released in 2021; Ahsoka, released in 2023; and the upcoming Skeleton Crew.[128][129][130] These series follow the plight of the New Republic and its allies against the remnants of the fallen Galactic Empire.[131] A story focused on Obi-Wan Kenobi was planned as a film before becoming a live-action series after the box office failure of Solo in 2018.[91] The series was released on Disney+ in 2022 and is set between the prequel and original trilogy films.[132] It was followed by the live-action series Andor in the same year; both series follow their titular characters during the reign of the Empire.[132][133] The Acolyte is a series created by Leslye Headland set at the end of the High Republic era before the events of the Skywalker Saga, and follows an investigation into a series of murders of Jedi Masters. Films and specials Film U.S. release date Directed by Teleplay by Story by Produced by Network Star Wars Holiday Special November 17, 1978 Steve Binder Pat Proft, Leonard Ripps, Bruce Vilanch, Rod Warren, and Mitzie Welch Joe Layton, Jeff Starsh, Ken Welch, and Mitzie Welch CBS The Ewok Adventure November 25, 1984 John Korty Bob Carrau George Lucas Thomas G. Smith and Patricia Rose Duignan ABC Ewoks: The Battle for Endor November 24, 1985 Jim Wheat and Ken Wheat Thomas G. Smith and Ian Bryce Fictional timeline See also: Star Wars in other media § Legends fictional timeline The Star Wars canon fictional universe spans multiple eras, of which three are focused around each of the film trilogies.[134] The following eras were defined in January 2021,[135] and further refined and expanded in April 2023:[136] Dawn of the Jedi: The first Jedi wields the Force, which will be depicted in an upcoming untitled film.[96][137][134] The Old Republic: The Galactic Republic is founded and the Jedi Order emerges to protect it. A schism within the Jedi leads to the creation of the Sith.[134] The High Republic: Under the protection of the Jedi, the Republic grows into a golden age. This era includes The Acolyte, The High Republic literary works and the animated series Young Jedi Adventures.[134] Fall of the Jedi: The Republic's Supreme Chancellor, Palpatine (secretly the Sith lord Darth Sidious), orchestrates the Clone Wars, overthrows the Republic, exterminates the Jedi Order and corrupts Anakin Skywalker.[134][138] This era includes the prequel trilogy films, the beginning of the episodic Skywalker Saga, and the animated series Tales of the Jedi and The Clone Wars.[134] Reign of the Empire: Palpatine's Galactic Empire rules the galaxy and the remaining Jedi are hunted down.[134] This era includes Solo: A Star Wars Story, Obi-Wan Kenobi, Andor, Rogue One, the animated series The Bad Batch and Rebels, and the video games Star Wars Jedi: Fallen Order, Star Wars Jedi: Survivor and Vader Immortal.[134] Age of Rebellion: The Rebellion against the Empire spreads across the galaxy, while the Jedi return with the emergence of Luke Skywalker.[134][139] This era includes the original trilogy films[f] and the video games Star Wars Battlefront II and Star Wars: Squadrons.[134] The New Republic: Following the Empire's defeat, the emergent New Republic attempts to reunite the galaxy, while threatened by the remnants of the Empire.[134] This era includes The Mandalorian, The Book of Boba Fett, and Ahsoka.[134] Rise of the First Order: The remnants of the Empire transform into the First Order but are fought by the Resistance, climaxing with the defeat of Palpatine and the Sith by the Jedi Rey.[134][138] This era includes the sequel trilogy films, the animated series Star Wars Resistance and the video game Star Wars: Tales from the Galaxy's Edge.[134] New Jedi Order: Rey builds a new Jedi Order, which will be depicted in an upcoming untitled film.[96][134] The Expanded Universe of spin-off media depicts different levels of continuity, which were deemed non-canonical and rebranded as Legends on April 25, 2014, to make most subsequent works align to the episodic films, The Clone Wars film, and television series.[1] Other media Main article: Star Wars in other media From 1976 to 2014, the term Expanded Universe (EU) was an umbrella term for all officially licensed Star Wars storytelling material set outside the events depicted within the theatrical films, including novels, comics, and video games.[141] Lucasfilm maintained internal continuity between the films and television content and the EU material until April 25, 2014, when the company announced all of the EU works would cease production. Existing works would no longer be considered canon to the franchise and subsequent reprints would be rebranded under the Star Wars Legends label,[141] with downloadable content for the massively multiplayer online game The Old Republic the only Legends material to still be produced. The Star Wars canon was subsequently restructured to only include the existing six feature films, the animated film The Clone Wars (2008), and its companion animated series. All future projects and creative developments across all types of media would be overseen and coordinated by the story group, announced as a division of Lucasfilm created to maintain continuity and a cohesive vision on the storytelling of the franchise.[1] Multiple comics series from Marvel and novels published by Del Rey were produced after the announcement. Since the new canon has been introduced, there has been a multitude of pieces of Expanded Universe continuity that have become a part of canon.[142] Print media Star Wars in print predates the release of the first film, with the November 1976 novelization of Star Wars, initially subtitled "From the Adventures of Luke Skywalker". Credited to Lucas, it was ghostwritten by Alan Dean Foster.[143] The first "Expanded Universe" story appeared in Marvel Comics' Star Wars #7 in January 1978 (the first six issues being an adaptation of the film), followed by Foster's sequel novel Splinter of the Mind's Eye the following month. Novels Further information: List of Star Wars books Timothy Zahn authored the Thrawn trilogy, which was widely credited with revitalizing the dormant Star Wars franchise in the early 1990s. After penning the novelization of the original film, Foster followed it with the sequel Splinter of the Mind's Eye (1978). The novelizations of The Empire Strikes Back (1980) by Donald F. Glut and Return of the Jedi (1983) by James Kahn followed, as well as The Han Solo Adventures trilogy (1979–1980) by Brian Daley,[144] and The Adventures of Lando Calrissian trilogy (1983) by L. Neil Smith.[145][146] Timothy Zahn's bestselling Thrawn trilogy (1991–1993) reignited interest in the franchise and introduced the popular characters Grand Admiral Thrawn, Mara Jade, Talon Karrde, and Gilad Pellaeon.[147][148][149][150] The first novel, Heir to the Empire, reached #1 on the New York Times Best Seller list,[151] and the series finds Luke, Leia, and Han facing off against tactical genius Thrawn, who is plotting to retake the galaxy for the Empire.[152] In The Courtship of Princess Leia (1994) by Dave Wolverton, set immediately before the Thrawn trilogy, Leia considers an advantageous political marriage to Prince Isolder of the planet Hapes, but she and Han ultimately marry.[153][154] Steve Perry's Shadows of the Empire (1996), set between The Empire Strikes Back and Return of the Jedi, was part of a multimedia campaign that included a comic book series and video game.[155][156] The novel introduced the crime lord Prince Xizor, another popular character who would appear in multiple other works.[155][157] Other notable series from Bantam include the Jedi Academy trilogy (1994) by Kevin J. Anderson,[158][159] the 14-book Young Jedi Knights series (1995–1998) by Anderson and Rebecca Moesta,[159][160] and the X-wing series (1996–2012) by Michael A. Stackpole and Aaron Allston.[161][162][163] Del Rey took over Star Wars book publishing in 1999, releasing what would become a 19-installment novel series called The New Jedi Order (1999–2003). Written by multiple authors, the series was set 25 to 30 years after the original films and introduced the Yuuzhan Vong, a powerful alien race attempting to invade and conquer the entire galaxy.[164][165] The bestselling multi-author series Legacy of the Force (2006–2008) chronicles the crossover of Han and Leia's son Jacen Solo to the dark side of the Force; among his evil deeds, he kills Luke's wife Mara Jade as a sacrifice to join the Sith. Although no longer canon, the story is paralleled in The Force Awakens with Han and Leia's son Ben Solo, who becomes the evil Kylo Ren.[166][167][168][169] Three series set in the prequel era were published by Scholastic for younger audiences: the 18-book Jedi Apprentice (1999–2002) chronicles the adventures of Obi-Wan Kenobi and his master Qui-Gon Jinn in the years before The Phantom Menace; the 11-book Jedi Quest (2001–2004) follows Obi-Wan and his own apprentice, Anakin Skywalker in between The Phantom Menace and Attack of the Clones; and the 10-book The Last of the Jedi (2005–2008), set almost immediately after Revenge of the Sith, features Obi-Wan and the last few surviving Jedi. In 2019, a new prequel era novel, starring Qui-Gon and the young Obi-Wan, was published by Del Rey under the title Star Wars: Master and Apprentice.[170] Although Thrawn had been designated a Legends character in 2014, he was reintroduced into the canon in 2016 for the third season of the Rebels animated series, with Zahn returning to write more novels based on the character and set in the new canon.[171][172] Comics Main articles: Star Wars comics and List of Star Wars comic books Marvel Comics published a Star Wars comic book series from 1977 to 1986.[173][174][175][176] Original Star Wars comics were serialized in the Marvel magazine Pizzazz between 1977 and 1979. The 1977 installments were the first original Star Wars stories not directly adapted from the films to appear in print form, as they preceded those of the Star Wars comic series.[177] From 1985 to 1987, the animated children's series Ewoks and Droids inspired comic series from Marvel's Star Comics line.[178][179][180] According to Marvel Comics former Editor-In-Chief Jim Shooter, the strong sales of Star Wars comics saved Marvel financially in 1977 and 1978.[181] Marvel's Star Wars series was one of the industry's top selling titles in 1979 and 1980.[182] The only downside for Marvel was that the 100,000 copy sales quota was surpassed quickly, allowing Lippincott to renegotiate the royalty arrangements from a position of strength.[183] In the late 1980s, Marvel dropped a new Star Wars comic it had in development, which was picked up by Dark Horse Comics and published as the popular Dark Empire series (1991–1995).[184] Dark Horse subsequently launched dozens of series set after the original film trilogy, including Tales of the Jedi (1993–1998), X-wing Rogue Squadron (1995–1998), Star Wars: Republic (1998–2006), Star Wars Tales (1999–2005), Star Wars: Empire (2002–2006), and Knights of the Old Republic (2006–2010).[185][186] After Disney's acquisition of Lucasfilm, it was announced in January 2014 that in 2015 the Star Wars comics license would return to Marvel Comics,[187] whose parent company, Marvel Entertainment, Disney had purchased in 2009.[188] Launched in 2015, the first three publications were titled Star Wars, Darth Vader, and the limited series Princess Leia.[189][190][191] First announced as Project Luminous at Star Wars Celebration in April 2019, the Star Wars: The High Republic publishing initiative was revealed in a press conference in February 2020. Involving the majority of the then current officially licensed publishers, a new era set 200 years before the Skywalker Saga was explored in various books and comics. Including ongoing titles by Marvel and IDW Publishing, written by Cavan Scott and Daniel José Older respectively.[192] Marvel Comics will publish a one-shot comic book on September 4, 2024, that bridges the gap between the High Republic publishing initiative and the events of The Acolyte. Titled Star Wars: The Acolyte – Kelnacca, the one-shot was written by High Republic writer Cavan Scott with art by Marika Cresta. It focuses on Kelnacca, the Wookiee Jedi introduced in The Acolyte.[193] Audio Soundtracks and singles Further information: Music of Star Wars John Williams composed the soundtracks for the nine episodic films. He stated he would retire from the franchise with The Rise of Skywalker,[194] but he composed a theme for Obi-Wan Kenobi for the miniseries and Han Solo's theme for Solo: A Star Wars Story.[195] Williams also created the main theme for Galaxy's Edge.[196] Several other composers worked on other soundtracks, including John Powell (Obi-Wan Kenobi), Michael Giacchino (Rogue One),[195] and Ludwig Göransson (The Mandalorian).[197] Audio novels Further information: The Story of Star Wars and List of Star Wars books The first Star Wars audio work is The Story of Star Wars, an LP using audio samples from the original film and a new narration to retell the story, released in 1977. Most later printed novels were adapted into audio novels, usually released on cassette tape and re-released on CD. As of 2019, audio-only novels have been released not directly based on printed media.[198] Radio Further information: Star Wars (radio) Radio adaptations of the films were also produced. Lucas, a fan of the NPR-affiliated campus radio station of his alma mater the University of Southern California, licensed the Star Wars radio rights to KUSC-FM for US$1. The production used John Williams's original film score, along with Ben Burtt's sound effects.[199][200] The first was written by science-fiction author Brian Daley and directed by John Madden. It was broadcast on National Public Radio in 1981, adapting the original 1977 film into 13 episodes.[201][199][200] Mark Hamill and Anthony Daniels reprised their film roles.[201][199] The overwhelming success, led to a 10-episode adaptation of The Empire Strikes Back debuted in 1983.[202] Billy Dee Williams joined the other two stars, reprising his role as Lando Calrissian.[199] In 1983, Buena Vista Records released an original, 30-minute Star Wars audio drama titled Rebel Mission to Ord Mantell, written by Daley.[200][203] In the 1990s, Time Warner Audio Publishing adapted several Star Wars series from Dark Horse Comics into audio dramas: the three-part Dark Empire saga, Tales of the Jedi, Dark Lords of the Sith, the Dark Forces trilogy, and Crimson Empire (1998).[203] Return of the Jedi was adapted into 6-episodes in 1996, featuring Daniels.[199][203] Video games Further information: Star Wars video games and List of Star Wars video games The Star Wars franchise has spawned over one hundred[204] computer, video, and board games, dating back to some of the earliest home consoles. Some are based directly on the movie material, while others rely heavily on the non-canonical Expanded Universe (rebranded as Star Wars Legends and removed from the canon in 2014). Star Wars games have gone through three significant development eras, marked by a change in leadership among the developers: the early licensed games, those developed after the creation of LucasArts, and those created after the closure of the Lucasfilm division by Disney and the transfer of the license to Electronic Arts. Early licensed games (1979–1993) The first officially licensed electronic Star Wars game was Kenner's 1979 table-top Star Wars Electronic Battle Command.[205][206] In 1982, Parker Brothers published the first Star Wars video game for the Atari 2600, Star Wars: The Empire Strikes Back,[207] followed soon the year later by Star Wars: Jedi Arena, the first video game to depict lightsaber combat. They were followed in 1983 by Atari's rail shooter arcade game Star Wars, with vector graphics to replicate the Death Star trench run scene from the 1977 film.[208] The next game, Star Wars: Return of the Jedi (1984), has more traditional raster graphics,[209] while the following Star Wars: The Empire Strikes Back (1985) has vector graphics.[210] Platform games were made for the Nintendo Entertainment System, including the Japan-exclusive Star Wars (1987), an international Star Wars (1991), and Star Wars: The Empire Strikes Back (1992). Super Star Wars (1992) was released for the Super Nintendo Entertainment System, with two sequels over the next two years. LucasArts and modern self-published games (1993–2014) Main article: LucasArts Lucasfilm founded its own video game company in 1982, becoming best known for adventure games and World War II flight combat games, but as George Lucas took more interest in the increasing success of the video game market, he wanted to have more creative control over the games and founded his own development company, LucasArts. Improved graphics allowed games to tell complex narratives, which allowed for the retelling of the films, and eventually original narratives set in the same continuity, with voice-overs and CGI cutscenes. In 1993, LucasArts released Star Wars: X-Wing, the first self-published Star Wars video game and the first space flight simulator based on the franchise.[211] It was one of the bestselling video games of 1993 and established its own series of games.[211] The Rogue Squadron series was released between 1998 and 2003, also focusing on space battles set during the films. Dark Forces (1995), a hybrid adventure game incorporating puzzles and strategy,[212] was the first Star Wars first-person shooter.[213] It featured gameplay and graphical features not then common in other games, made possible by LucasArts' custom-designed game engine, the Jedi.[213][212][214][215] The game was well received,[216][217][218] and it was followed by four sequels.[219][220] The series introduced Kyle Katarn, who would appear in multiple games, novels, and comics.[221] Katarn is a former stormtrooper who joins the Rebellion and becomes a Jedi,[213][222][223] a plot arc similar to that of Finn in the sequel trilogy films.[166] A massively multiplayer online role-playing game, Star Wars Galaxies, was in operation from 2003 until 2011. After Disney bought Lucasfilm, LucasArts ceased its role as a developer in 2013, although it still operates as a licensor.[224] EA Star Wars (2014–present) Following its acquisition of the franchise, Disney reassigned video game rights to Electronic Arts. Games made during this era are considered canonical, and feature more influence from the Star Wars filmmakers. Disney partnered with Lenovo to create the augmented reality video game Jedi Challenges, released in November 2017.[225][226] In August 2018, it was announced that Zynga would publish free-to-play Star Wars mobile games.[227] The Battlefront games received a canonical reboot with Star Wars: Battlefront in November 2015, which was followed by a sequel, Battlefront II, in November 2017. A single-player action-adventure game, Star Wars Jedi: Fallen Order, with an original story and cast of characters, was released in November 2019. A space combat game titled Star Wars: Squadrons, which builds upon the space battles from Battlefront, was released in October 2020. Theme park attractions Main article: List of Star Wars theme parks attractions In addition to the Disneyland ride Star Tours (1987) and its successor, Star Tours: The Adventures Continue (2011), many live attractions have been held at Disney parks, including the traveling exhibition Where Science Meets Imagination, the Space Mountain spin-off Hyperspace Mountain, a walkthrough Launch Bay, and the night-time A Galactic Spectacular. An immersive themed area called Galaxy's Edge (2019) opened at Disneyland and opened at Walt Disney World in mid-2019.[228] A themed hotel, Star Wars: Galactic Starcruiser, operated from 2022 to 2023 at Walt Disney World. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (January 2020) (Learn how and when to remove this message) Title Park(s) Opening date Closing date Star Tours Disneyland January 9, 1987 July 27, 2010 Tokyo Disneyland July 12, 1989 April 2, 2012 Disney's Hollywood Studios December 15, 1989 September 7, 2010 Disneyland Paris April 12, 1992 March 16, 2016 Star Wars Weekends Disney's Hollywood Studios 1997 November 2015 Star Wars: Where Science Meets Imagination Multiple locations October 19, 2005 March 23, 2014 Jedi Training Academy Disneyland July 1, 2006 November 15, 2015 Disney's Hollywood Studios October 9, 2007 October 5, 2015 Star Tours: The Adventures Continue Disney's Hollywood Studios May 20, 2011 N/A (operating) Disneyland June 3, 2011 Tokyo Disneyland May 7, 2013 Disneyland Paris March 26, 2017 Star Wars: Hyperspace Mountain Disneyland November 14, 2015 May 31, 2017 Hong Kong Disneyland June 11, 2016 N/A (operating) Disneyland Paris May 7, 2017 Star Wars Launch Bay Disneyland November 16, 2015 Disney's Hollywood Studios December 4, 2015 Shanghai Disneyland June 16, 2016 Jedi Training: Trials of the Temple Disney's Hollywood Studios December 1, 2015 Disneyland December 8, 2015 Disneyland Paris July 11, 2015 Hong Kong Disneyland June 25, 2016 Star Wars: A Galactic Spectacular Disney's Hollywood Studios June 17, 2016 Star Wars: Galactic Starcruiser Disney's Hollywood Studios March 1, 2022[229] September 30, 2023[230] Star Wars: Galaxy's Edge Disneyland May 31, 2019 N/A (operating) Disney's Hollywood Studios August 29, 2019 Star Wars: Millennium Falcon - Smugglers Run Disneyland May 31, 2019 Disney's Hollywood Studios August 29, 2019 Star Wars: Rise of the Resistance Disney's Hollywood Studios December 5, 2019 Disneyland January 17, 2020 Multimedia projects A multimedia project involves works released across multiple types of media. Shadows of the Empire (1996) was a multimedia project set between The Empire Strikes Back and Return of the Jedi that included a novel by Steve Perry, a comic book series, a video game, and action figures.[155][156] The Force Unleashed (2008–2010) was a similar project set between Revenge of the Sith and A New Hope that included a novel, a 2008 video game and its 2010 sequel, a graphic novel, a role-playing game supplement, and toys.[231][232] Merchandising Main articles: Kenner Star Wars action figures, List of Kenner Star Wars action figures, Star Wars: The Vintage Collection, Lego Star Wars, Star Wars trading card, and Star Wars role-playing games George Lucas made much of his fortune by retaining his rights to the franchise's merchandising. The success of the Star Wars films led the franchise to become one of the most merchandised franchises in the world. While filming the original 1977 film, George Lucas decided to take a $500,000 pay cut to his salary as director in exchange for full ownership of the franchise's merchandising rights. By 1987, the first three films have made US$2.6 billion in merchandising revenue.[233] By 2012, the first six films produced approximately US$20 billion in merchandising revenue.[234] Kenner made the first Star Wars action figures to coincide with the release of the original film, and today the original figures are highly valuable. Since the 1990s, Hasbro holds the rights to create action figures based on the saga. Pez dispensers began to be produced in 1997.[235] Star Wars was the first intellectual property to be licensed in Lego history.[236] Lego has produced animated parody short films and mini-series to promote their Star Wars sets.[237] The Lego Star Wars video games are critically acclaimed bestsellers.[238][239] In 1977, the board game Star Wars: Escape from the Death Star was released.[240][g] A Star Wars Monopoly and themed versions of Trivial Pursuit and Battleship were released in 1997, with updated versions released in subsequent years. The board game Risk has been adapted in two editions by Hasbro: The Clone Wars Edition (2005)[242] and the Original Trilogy Edition (2006).[243] Three Star Wars tabletop role-playing games have been developed: a version by West End Games in the 1980s and 1990s, one by Wizards of the Coast in the 2000s, and one by Fantasy Flight Games in the 2010s. Star Wars Trading Cards have been published since the first "blue" series, by Topps, in 1977.[244] Dozens of series have been produced, with Topps being the licensed creator in the United States. Each card series are of film stills or original art. Many of the cards have become highly collectible with some very rare "promos", such as the 1993 Galaxy Series II "floating Yoda" P3 card often commanding US$1,000 or more. While most "base" or "common card" sets are plentiful, many "insert" or "chase cards" are very rare.[245] From 1995 until 2001, Decipher, Inc. had the license for, created, and produced the Star Wars Customizable Card Game. Themes See also: Star Wars sources and analogues Star Wars features elements such as knighthood, chivalry, and Jungian archetypes such as "the shadow".[246] There are also many references to Christianity, such as in the appearance of Darth Maul, whose design draws heavily from traditional depictions of the devil.[247] Anakin was conceived of a virgin birth, and is assumed to be the "Chosen One", a messianic individual. However, unlike Jesus, Anakin falls from grace, remaining evil as Darth Vader until Return of the Jedi. According to Adam Driver, sequel trilogy villain Kylo Ren, who idolizes Vader, believes he is "doing what he thinks is right".[248] George Lucas has said that the theme of the saga is redemption.[249] The saga draws heavily from the hero's journey, an archetypical template developed by comparative mythologist Joseph Campbell.[247] Each character—primarily Anakin, Luke, and Rey—follows the steps of the cycle or undergoes its reversal, becoming the villain.[250] A defining step of the journey is "Atonement with the Father".[251] Obi-Wan's loss of a father figure could have impacted his relationship with Anakin,[252] whom both Obi-Wan and Palpatine are fatherlike mentors to.[253] Luke's discovery that Vader is his father has strong repercussions on the saga and is regarded as one of the most influential plot twists in cinema.[254] Supreme Leader Snoke encourages Kylo Ren to kill his father, Han Solo.[248] Kylo uses the fact that Rey is an orphan to tempt her into joining the dark side.[255] According to Inverse, the final scene in The Last Jedi, which depicts servant children playing with a toy of Luke and one boy using the Force, symbolizes that "the Force can be found in people with humble beginnings."[256] Historical influences Political science has been an important element of Star Wars since the franchise launched in 1977, focusing on a struggle between democracy and dictatorship. Battles featuring the Ewoks and Gungans against the Empire and Trade Federation, respectively, represent the clash between a primitive society and a more advanced one, similar to the Vietnam-American War.[257][258] Darth Vader's design was initially inspired by Samurai armor, and also incorporated a German military helmet.[259][260] Originally, Lucas conceived of the Sith as a group that served the Emperor in the same way the Schutzstaffel (SS) served Adolf Hitler, but this was condensed into one character in the form of Vader.[261] Stormtroopers borrow the name of World War I German "shock" troopers. Imperial officers wear uniforms resembling those of German forces during World War II,[262] and political and security officers resemble the black-clad SS down to the stylized silver death's head on their caps. World War II terms were used for names in the films; e.g. the planets Kessel (a term that refers to a group of encircled forces) and Hoth (after a German general who served on the snow-laden Eastern Front).[263] Shots of the commanders looking through AT-AT walker viewscreens in The Empire Strikes Back resemble tank interiors,[264] and space battles in the original film were based on World War I and World War II dogfights.[265] Palpatine being a chancellor before becoming the Emperor in the prequel trilogy alludes to Hitler's role before appointing himself Führer.[262] Lucas has also drawn parallels to historical dictators such as Julius Caesar, Napoleon Bonaparte, and politicians like Richard Nixon.[266][267][h] The Great Jedi Purge mirrors the events of the Night of the Long Knives.[269] The corruption of the Galactic Republic is modeled after the fall of the democratic Roman Republic and the formation of an empire.[270][271] On the inspiration for the First Order formed "from the ashes of the Empire", The Force Awakens director J. J. Abrams spoke of conversations the writers had about how the Nazis could have escaped to Argentina after WWII and "started working together again."[272] The aerial warfare of WWII inspired the space fights. The aerial warfare of WWII inspired the space fights. The flag and iconography of the Empire resembles those of the Nazi Party and Germany during its rule. The flag and iconography of the Empire resembles those of the Nazi Party and Germany during its rule. Cultural impact Main article: Cultural impact of Star Wars The lightsaber and the blaster are iconic elements of the franchise. The Star Wars saga has had a significant impact on popular culture,[273] with references to its fictional universe deeply embedded in everyday life.[274] Phrases like "evil empire" and "May the Force be with you" have become part of the popular lexicon.[275] The first Star Wars film in 1977 was a cultural unifier,[276] enjoyed by a wide spectrum of people.[277] The film can be said to have helped launch the science-fiction boom of the late 1970s and early 1980s, making science-fiction films a mainstream genre.[278] The widespread impact made it a prime target for parody works and homages, with popular examples including Hardware Wars, Spaceballs, The Family Guy Trilogy and Robot Chicken: Star Wars. In 1989, the Library of Congress selected the original Star Wars film for preservation in the U.S. National Film Registry, as being "culturally, historically, or aesthetically significant."[279] The Empire Strikes Back was selected in 2010,[280][281] and Return of the Jedi was selected in 2021.[282] 35 mm reels of the 1997 Special Editions were the versions initially presented for preservation because of the difficulty of transferring from the original prints,[283][284] but it was later revealed that the Library possesses a copyright deposit print of the original theatrical releases.[285] Industry The original Star Wars film was a huge success for 20th Century Fox, and was credited for reinvigorating the company. Within three weeks of the film's release, the studio's stock price doubled to a record high. Prior to 1977, 20th Century Fox's greatest annual profits were $37 million, while in 1977, the company broke that record by posting a profit of $79 million.[265] The franchise helped Fox to change from an almost bankrupt production company to a thriving media conglomerate.[286] With over $10.3 billion in worldwide box office receipts, Star Wars is the second-highest-grossing film franchise of all time.[287][288] Star Wars fundamentally changed the aesthetics and narratives of Hollywood films, switching the focus of Hollywood-made films from deep, meaningful stories based on dramatic conflict, themes and irony to sprawling special-effects-laden blockbusters, as well as changing the Hollywood film industry in fundamental ways. Before Star Wars, special effects in films had not appreciably advanced since the 1950s.[289] The commercial success of Star Wars created a boom in state-of-the-art special effects in the late 1970s.[286] Along with Jaws, Star Wars started the tradition of the summer blockbuster film in the entertainment industry, where films open on many screens at the same time and profitable franchises are important.[290][277] It created the model for the major film trilogy and showed that merchandising rights on a film could generate more money than the film itself did.[276] Film critic Roger Ebert wrote in his book The Great Movies, "Like The Birth of a Nation and Citizen Kane, Star Wars was a technical watershed that influenced many of the movies that came after." It began a new generation of special effects and high-energy motion pictures. The film was one of the first films to link genres together to invent a new, high-concept genre for filmmakers to build upon.[291] Finally, along with Steven Spielberg's Jaws, it shifted the film industry's focus away from personal filmmaking of the 1970s and towards fast-paced, big-budget blockbusters for younger audiences.[265][292][293] Some critics have blamed Star Wars and Jaws for "ruining" Hollywood by shifting its focus from "sophisticated" films such as The Godfather, Taxi Driver, and Annie Hall to films about spectacle and juvenile fantasy, and for the industry shift from stand-alone, one and done films, towards blockbuster franchises with multiple sequels and prequels.[294] One such critic, Peter Biskind, complained, "When all was said and done, Lucas and Spielberg returned the 1970s audience, grown sophisticated on a diet of European and New Hollywood films, to the simplicities of the pre-1960s Golden Age of movies... They marched backward through the looking-glass."[294][295] In an opposing view, Tom Shone wrote that through Star Wars and Jaws, Lucas and Spielberg "didn't betray cinema at all: they plugged it back into the grid, returning the medium to its roots as a carnival sideshow, a magic act, one big special effect", which was "a kind of rebirth".[293] The original Star Wars trilogy is widely considered one of the best film trilogies in history.[296] Numerous filmmakers have been influenced by Star Wars, including Damon Lindelof, Dean Devlin, Roland Emmerich, John Lasseter,[297] David Fincher, Joss Whedon, John Singleton, Kevin Smith,[291] and later Star Wars directors J. J. Abrams and Gareth Edwards.[298] Lucas's concept of a "used universe" particularly influenced Ridley Scott's Blade Runner (1982) and Alien (1979), James Cameron's Aliens (1986) as well as The Terminator (1984), George Miller's Mad Max 2 (1981), and Peter Jackson's The Lord of the Rings trilogy (2001–2003).[291] Christopher Nolan cited Star Wars as an influence when making the 2010 blockbuster film Inception.[299] Fan works Main article: Star Wars fan films The Star Wars saga has inspired many fans to create their own non-canon material set in the Star Wars galaxy. In recent years, this has ranged from writing fan fiction to creating fan films. In 2002, Lucasfilm sponsored the first annual Official Star Wars Fan Film Awards, officially recognizing filmmakers and the genre. Because of concerns over potential copyright and trademark issues, however, the contest was initially open only to parodies, mockumentaries, and documentaries. Fan fiction films set in the Star Wars universe were originally ineligible, but in 2007, Lucasfilm changed the submission standards to allow in-universe fiction entries.[300] Lucasfilm has allowed but not endorsed the creation of fan fiction, as long as it does not attempt to make a profit.[301] Academia As the characters and the storyline of the original trilogy are so well known, educators have used the films in the classroom as a learning resource. For example, a project in Western Australia honed elementary school students storytelling skills by role-playing action scenes from the movies and later creating props and audio/visual scenery to enhance their performance.[302] Others have used the films to encourage second-level students to integrate technology in the science classroom by making prototype lightsabers.[303] Similarly, psychiatrists in New Zealand and the U.S. have advocated their use in the university classroom to explain different types of psychopathology.[304][305] See also 501st Legion Architecture of Star Wars Comparison of Star Trek and Star Wars Jedi census phenomenon Jediism List of space science fiction franchises List of Star Wars characters List of Star Wars creatures List of Star Wars planets and moons Music of Star Wars Physics and Star Wars Star Wars Celebration Star Wars Day Star Wars documentaries Star Wars: The High Republic Space warfare in fiction The Force The Story of Star Wars Technology in Star Wars Wookieepedia, the Star Wars wiki Notes The film's release was preceded by its novelization in November 1976. 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ISBN 978-0-9784652-3-0. Rinzler, Jonathan W. (2005). The Making of Star Wars, Episode III: Revenge of the Sith. Del Rey. ISBN 978-0-345-43139-4. ——— (2007). The Making of Star Wars: The Definitive Story Behind the Original Film (Star Wars). Del Rey. ISBN 978-0-345-49476-4. Further reading Decker, Kevin S. (2005). Star Wars and Philosophy. Open Court. ISBN 978-0-8126-9583-0. Campbell, Joseph (1991). The Power of Myth. Anchor. ISBN 978-0-385-41886-7. Henderson, Mary (1997). Star Wars: The Magic of Myth. Bantam. ISBN 978-0-553-10206-2. Cavlelos, Jeanne (1999). The Science of Star Wars. St. Martin's Press. ISBN 978-0-312-20958-2. Nancy R. Reagin, Janice Liedl, ed. (2012). Star Wars and History. John Wiley & Sons. ISBN 978-0-470-60200-3. Star Wars: Where Science Meets Imagination. National Geographic & Boston Museum of Science. October 2005. ISBN 978-0-7922-6200-8. Belluomini, L. (2022). "The Mandalorian as Philosophy: 'This Is the Way'". In Johnson D. K. (ed.). The Palgrave Handbook of Popular Culture as Philosophy. Palgrave Macmillan, Cham. pp. 1–25. doi:10.1007/978-3-319-97134-6104-1. ISBN 978-3-319-97134-6. S2CID 245779254. Immerwahr, Daniel (2022). "21 the Galactic Vietnam: Technology, Modernization, and Empire in George Lucas's Star Wars" (PDF). Ideology in U.S. Foreign Relations. pp. 435–451. doi:10.7312/nich20180-022. ISBN 978-0-231-55427-5. 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The Clone WarsThe Force AwakensBattlesCastawaysThe Skywalker Saga Angry Birds Angry Birds Star WarsAngry Birds Star Wars II Cancelled games Return of the Jedi: Ewok Adventure1313Attack SquadronsProject Ragtag Category Other Star Wars Articles vte The Mandalorian Episodes Season 1 "Chapter 1: The Mandalorian""Chapter 2: The Child""Chapter 3: The Sin""Chapter 4: Sanctuary""Chapter 5: The Gunslinger""Chapter 6: The Prisoner""Chapter 7: The Reckoning""Chapter 8: Redemption" Season 2 "Chapter 9: The Marshal""Chapter 10: The Passenger""Chapter 11: The Heiress""Chapter 12: The Siege""Chapter 13: The Jedi""Chapter 14: The Tragedy""Chapter 15: The Believer""Chapter 16: The Rescue" Season 3 "Chapter 17: The Apostate""Chapter 18: The Mines of Mandalore""Chapter 19: The Convert""Chapter 20: The Foundling""Chapter 21: The Pirate""Chapter 22: Guns for Hire""Chapter 23: The Spies""Chapter 24: The Return" Characters Original The ArmorerThe ClientDin Djarin / The MandalorianCara DuneMoff GideonGroguIG-11Greef KargaKuiilMigs MayfeldFennec ShandPaz Vizsla Returning Boba FettBib FortunaBo-Katan KryzeR2-D2Luke SkywalkerAhsoka TanoCobb Vanth Related Spin-off series The Book of Boba FettAhsokaSkeleton Crew Film The Mandalorian & Grogu See also AccoladesStar WarsMandaloriansStar Wars original trilogyFortnite Battle Royale Category vte Star Wars Legends novels (1976–2014) Film novelizations From the Adventures of Luke Skywalker (1976)The Empire Strikes Back (1980)Return of the Jedi (1983)Episode I – The Phantom Menace (1999)Episode II – Attack of the Clones (2002)Episode III – Revenge of the Sith (2005)The Clone Wars (2008) Series The Han Solo Adventures (1979–80)The Lando Calrissian Adventures (1983)Thrawn (1991–98)Jedi Prince (1992–93)Jedi Academy (1994)The Corellian Trilogy (1995)Callista trilogy (1995–97)Young Jedi Knights (1995–98)The Black Fleet Crisis (1996–98)X-wing (1996–12)Galaxy of Fear (1997–98)The Han Solo Trilogy (1997–98)Boba Fett (1998–06)Jedi Apprentice 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Distributed by 20th Century Fox Release date May 25, 1977 Running time 121 minutes[1] Country United States[2] Language English Budget $11 million[3][4] Box office $775.8 million[3] Star Wars (retroactively titled Star Wars: Episode IV – A New Hope) is a 1977 American epic space opera film written and directed by George Lucas, produced by Lucasfilm and distributed by 20th Century Fox. It is the first film in the Star Wars film series and fourth chronological chapter of the "Skywalker Saga". Set "a long time ago" in a fictional universe where the galaxy is ruled by the tyrannical Galactic Empire, the story focuses on a group of freedom fighters known as the Rebel Alliance, who aim to destroy the Empire's newest weapon, the Death Star. Luke Skywalker becomes caught in the conflict while learning the ways of a metaphysical power known as "the Force" from Jedi Master Obi-Wan Kenobi. The cast includes Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, David Prowse, James Earl Jones, Anthony Daniels, Kenny Baker, and Peter Mayhew. Lucas had the idea for a science-fiction film in the vein of Flash Gordon around the time he completed his first film, THX 1138 (1971) and began working on a treatment after the release of American Graffiti (1973). After numerous rewrites, filming took place throughout 1976 in locations including Tunisia and Elstree Studios in England. The film suffered production difficulties; cast and crew involved believed the film would be a failure. Lucas formed the production company Industrial Light & Magic to help create the film's special effects. It also went $3 million over budget due to multiple delays. Star Wars was released in a limited number of theaters in the United States on May 25, 1977 and quickly became a blockbuster hit, leading to it being expanded to a much wider release. The film opened to critical acclaim for its acting, direction, story, musical score, sound, editing, screenplay, costume design, and production values, but particularly for its groundbreaking visual effects. It grossed over $550 million during its initial run, surpassing Jaws (1975) to become the highest-grossing film until the release of E.T. the Extra-Terrestrial (1982); subsequent releases brought its total gross to $775 million. When adjusted for inflation, Star Wars is the second-highest-grossing film in North America (behind Gone with the Wind) and the fourth-highest-grossing film of all time. It received numerous awards at the Academy Awards, BAFTA Awards, Saturn Awards, among others. The film has been reissued many times with Lucas's support—most significantly with its 20th-anniversary theatrical "Special Edition"—incorporating many changes including modified computer-generated effects, altered dialogue, re-edited shots, remixed soundtracks and added scenes. Widely regarded as one of the greatest and most important films in cinema history, the film became a pop-cultural phenomenon, launching an industry of tie-in products, including novels, comics, video games, amusem*nt park attractions and merchandise including toys, games, and clothing. It became one of the first 25 films selected by the United States Library of Congress for preservation in the National Film Registry in 1989, while its soundtrack was added to the U.S. National Recording Registry in 2004. The Empire Strikes Back (1980) and Return of the Jedi (1983) followed Star Wars, rounding out the original Star Wars trilogy. A prequel and a sequel trilogy have since been released, in addition to two anthology films and various television series. Plot Luke Skywalker (Hamill), Princess Leia (Fisher), and Han Solo (Ford) Amid a galactic civil war, Rebel Alliance spies have stolen plans to the Galactic Empire's Death Star, a massive space station capable of destroying entire planets. Imperial Senator Princess Leia Organa of Alderaan, secretly one of the Rebellion's leaders, has obtained its schematics, but her starship is intercepted by an Imperial Star Destroyer under the command of the ruthless Darth Vader. Before she is captured, Leia hides the plans in the memory system of astromech droid R2-D2, who flees in an escape pod to the nearby desert planet Tatooine alongside his companion, protocol droid C-3PO. The droids are captured by Jawa traders, who sell them to moisture farmers Owen and Beru Lars and their nephew Luke Skywalker. While Luke is cleaning R2-D2, he discovers a holographic recording of Leia requesting help from an Obi-Wan Kenobi. Later, after Luke finds R2-D2 missing, he is attacked by scavenging Sand People while searching for him, but is rescued by elderly hermit "Old Ben" Kenobi, an acquaintance of Luke's, who reveals that "Obi-Wan" is his true name. Obi-Wan tells Luke of his days as one of the Jedi Knights, the former peacekeepers of the Galactic Republic who drew mystical abilities from a metaphysical energy field known as "the Force", but were ultimately hunted to near-extinction by the Empire. Luke learns that his father fought alongside Obi-Wan as a Jedi Knight during the Clone Wars until Vader, Obi-Wan's former pupil, turned to the dark side of the Force and murdered him. Obi-Wan offers Luke his father's old lightsaber, the signature weapon of Jedi Knights. R2-D2 plays Leia's full message, in which she begs Obi-Wan to take the Death Star plans to her home planet of Alderaan and give them to her father, a fellow veteran, for analysis. Although Luke initially declines Obi-Wan's offer to accompany him to Alderaan and learn the ways of the Force, he is left with no choice after discovering that Imperial stormtroopers have killed his aunt and uncle and destroyed their farm in their search for the droids. Traveling to a cantina in Mos Eisley to search for transport, Luke and Obi-Wan hire Han Solo, a smuggler with a price on his head due to his debt to local mobster Jabba the Hutt. Pursued by stormtroopers, Obi-Wan, Luke, R2-D2, and C-3PO flee Tatooine with Han and his Wookiee co-pilot Chewbacca on their ship the Millennium Falcon. Before the Falcon can reach Alderaan, Death Star commander Grand Moff Tarkin destroys the planet in a show of force after interrogating Leia for the location of the Rebel Alliance's base. Upon arrival, the Falcon is captured by the Death Star's tractor beam, but the group manages to evade capture by hiding in the ship's smuggling compartments. As Obi-Wan leaves to disable the tractor beam, Luke persuades Han and Chewbacca to help him rescue Leia after discovering that she is scheduled to be executed. After disabling the tractor beam, Obi-Wan sacrifices himself in a lightsaber duel against Vader, allowing the rest of the group to escape the Death Star with Leia. Using a tracking device, the Empire tracks the Falcon to the hidden Rebel base on Yavin IV. The schematics reveal a hidden weakness in the Death Star's thermal exhaust port, which could allow the Rebels to trigger a chain reaction in its main reactor with a precise proton torpedo strike. While Han abandons the Rebels after collecting his reward for rescuing Leia, Luke joins their X-wing starfighter squadron in a desperate attack against the approaching Death Star. In the ensuing battle, the Rebels suffer heavy losses as Vader leads a squadron of TIE fighters against them. Han and Chewbacca unexpectedly return to aid them in the Falcon, and knock Vader's ship off course before he can shoot down Luke. Guided by the disembodied voice of Obi-Wan's spirit, Luke uses the Force to aim his torpedoes into the exhaust port, destroying the Death Star moments before it fires on the Rebel base. In a triumphant ceremony at the base, Leia awards Luke and Han medals for their heroism. Cast See also: List of Star Wars characters and List of Star Wars cast members Mark Hamill as Luke Skywalker: A young adult raised by his aunt and uncle on Tatooine, who dreams of something more than his current life and learns about the Force and the Jedi. Lucas favored casting young actors who lacked long experience. To play Luke (then known as Luke Starkiller), Lucas sought actors who could project intelligence and integrity. While reading the script, Hamill found the dialogue to be extremely odd because of its universe-embedded concepts. He chose to simply read it sincerely, and he was cast instead of William Katt, who was subsequently cast in Brian De Palma's Carrie (Lucas shared a joint casting session with De Palma, a longtime friend).[5][6] Robby Benson, Will Seltzer and Charles Martin Smith also auditioned for the role.[7][8][9][10] Harrison Ford as Han Solo: A cynical smuggler hired by Obi-Wan and Luke to take them to Alderaan in his ship, the Millennium Falcon, co-piloted with Chewbacca. Lucas initially rejected casting Ford for the role, as he "wanted new faces"; Ford had previously worked with Lucas on American Graffiti. Instead, Lucas asked Ford to assist in the auditions by reading lines with the other actors and explaining the concepts and history behind the scenes that they were reading. Lucas was eventually won over by Ford's portrayal and cast him instead of Kurt Russell, Nick Nolte,[6] Sylvester Stallone,[11] Bill Murray,[12][13] Christopher Walken, Burt Reynolds, Jack Nicholson, James Caan,[14] Robert De Niro, Al Pacino, Steve Martin, Chevy Chase, or Perry King (who later played Han Solo in the radio plays).[5][15][16] Carrie Fisher as Princess Leia Organa: The princess of the planet Alderaan who is a member of the Imperial Senate and, secretly, one of the leaders of the Rebel Alliance. Many young Hollywood actresses auditioned for the role of Princess Leia, including Amy Irving,[6] Terri Nunn, Cindy Williams,[5] Linda Purl,[17] Karen Allen,[6] and Jodie Foster.[a] Foster turned down the role because she was already under contract with Disney and working on two films at the time.[21] Fisher was cast under the condition that she lose 10 pounds (4.5 kg) for the role.[22] Peter Cushing as Grand Moff Tarkin: The commander of the Death Star. Lucas originally offered the role to Christopher Lee but he declined.[23] Lucas originally had Cushing in mind for the role of Obi-Wan Kenobi, but Lucas believed that "his lean features" would be better employed in the role of Tarkin instead. Lucas commended Cushing's performance, saying "[He] is a very good actor. Adored and idolized by young people and by people who go to see a certain kind of movie. I feel he will be fondly remembered for the next 350 years at least." Cushing, commenting on his role, joked: "I've often wondered what a 'Grand Moff' was. It sounds like something that flew out of a cupboard."[24] Alec Guinness as Obi-Wan Kenobi: An aging Jedi Master and veteran of the Clone Wars who introduces Luke to the Force. Lucas's decision to cast "unknowns" was not taken favorably by his friend Francis Ford Coppola and the studio. Lucas decided Obi-Wan Kenobi should be played by an established actor. Producer Gary Kurtz said, "The Alec Guinness role required a certain stability and gravitas as a character... which meant we needed a very, very strong character actor to play that part."[5] Before Guinness was cast, Japanese actor Toshiro Mifune (who starred in many Akira Kurosawa films) was considered for the role.[6][25] According to Mifune's daughter, Mika Kitagawa, her father turned down Lucas's offers for Kenobi and Darth Vader because "he was concerned about how the film would look and that it would cheapen the image of samurai... At the time, sci-fi movies still looked quite cheap as the effects were not advanced and he had a lot of samurai pride."[26] Guinness was one of the few cast members who believed that the film would be successful; he negotiated a deal for 2.25% of the one-fifth gross royalties paid to Lucas, which made him quite wealthy in later life. He agreed to take the part of Kenobi on the condition that he would not have to do any publicity to promote the film.[27] Lucas credited him with inspiring the cast and crew to work harder, saying that Guinness contributed significantly to the completion of the filming.[28] Harrison Ford said, "It was, for me, fascinating to watch Alec Guinness. He was always prepared, always professional, always very kind to the other actors. He had a very clear head about how to serve the story."[5] Anthony Daniels as C-3PO: A protocol droid affiliated with the Rebellion who is "fluent in over six million forms of communication". Daniels auditioned for and was cast as C-3PO; he has said that he wanted the role after he saw a Ralph McQuarrie drawing of the character and was struck by the vulnerability in the robot's face.[5][29] Initially, Lucas did not intend to use Daniels' voice for C-3PO. Thirty well-established voice actors read for the voice of the droid. According to Daniels, one of the major voice actors, believed by some sources to be Stan Freberg, recommended Daniels' voice for the role.[5][30] Mel Blanc was considered for the role, but according to Daniels, Blanc told Lucas that Daniels was better for the part.[7][31] Richard Dreyfuss was also considered.[32] Kenny Baker as R2-D2: An astromech droid and C-3PO's companion, who is carrying the Death Star plans and a secret message for Obi-Wan from Princess Leia. When filming was under way in London, where additional casting took place, Baker, performing a musical comedy act with his acting partner Jack Purvis, learned that the film crew was looking for a small person to fit inside a robot suit and maneuver it. Baker, who was 3 feet 8 inches (1.12 m) tall, was cast immediately after meeting George Lucas. He said, "He saw me come in and said 'He'll do' because I was the smallest guy they'd seen up until then." He initially turned down the role three times, hesitant to appear in a film where his face would not be shown and hoping to continue the success of his comedy act, which had recently started to be televised.[33] R2-D2's recognizable beeps and squeaks were made by sound designer Ben Burtt imitating "baby noises", recording this voice as it was heard on an intercom, and creating the final mix using a synthesizer.[34] Peter Mayhew as Chewbacca: A 200-year-old Wookiee, Han Solo's sidekick, and first mate of the Millennium Falcon. Mayhew learned of a casting call for Star Wars, which was being shot in London, and decided to audition. The 7-foot-3-inch (2.21 m) tall actor was immediately cast as Chewbacca after he stood up to greet Lucas.[5][35] He recounted, "I sat down on one of the sofas, waiting for George. Door opened, and George walked in with Gary behind him. So, naturally, what did I do? I'm raised in England. Soon as someone comes in through the door, I stand up. George goes 'Hmm [looked up].' Virtually turned to Gary, and said 'I think we've found him.'[5] As a result of his height, Mayhew was eligible for either the role of Chewbacca or Darth Vader, ultimately choosing the former because he wanted to play a hero in the story.[35] Mayhew modeled his performance of Chewbacca after the mannerisms of animals he saw at public zoos.[27] David Prowse as Darth Vader: Obi-Wan's former Jedi apprentice, who fell to the dark side of the Force and became a Sith lord serving the Galactic Empire. Lucas dismissed Prowse for the character's voice due to his West Country English accent, which led to him being nicknamed, within the cast, as "Darth Farmer".[34] James Earl Jones as the voice of Darth Vader; he was uncredited until 1983. Lucas originally intended for Orson Welles to voice the character after dismissing Prowse.[34] However, determining that Welles' voice would be too familiar to audiences, Lucas instead cast then-relatively less recognizable Jones.[5][6] Other actors include Phil Brown and Shelagh Fraser as Luke's Uncle Owen and Aunt Beru; Jack Purvis, Kenny Baker's partner in his London comedy act, as the Chief Jawa in the film; and Eddie Byrne as Vanden Willard, a Rebel general.[36] Denis Lawson and Garrick Hagon played rebel pilots Wedge Antilles and Biggs Darklighter (Luke's childhood friend), respectively. Don Henderson and Leslie Schofield appear as Imperial Generals Cassio Tagge and Moradmin Bast, respectively, and Richard LeParmentier plays Admiral Motti.[37] Alex McCrindle portrays General Jan Dodonna, Alfie Curtis portrays Dr. Evazan, and Peter Geddis portrays Captain Raymus Antilles. Michael Leader plays a minor role as a Stormtrooper known for accidentally hitting his helmet against a door.[38][39] Heavily synthesised audio recordings of John Wayne from earlier films were used as the voice of the Imperial spy Garindan.[40][41] Robert Clarke appears as Imperial officer Wulff Yularen and Patrick Jordan plays another Imperial officer, Siward Cass. Production Development Director/writer George Lucas in 2007, describing the difficulty of pitching Star Wars, being turned down repeatedly, until 20th Century-Fox bought the idea for "a little strange" film.[42] Lucas had the idea for a space-fantasy film in 1971, after he completed directing his first full-length feature, THX 1138.[43] Originally, Lucas wanted to adapt the Flash Gordon space adventure comics and serials into his own films, having been fascinated by them since he was young.[44] He later said: I especially loved the Flash Gordon serials ... Of course I realize now how crude and badly done they were ... loving them that much when they were so awful, I began to wonder what would happen if they were done really well.[45] At the Cannes Film Festival following the completion of THX 1138, Lucas pushed towards buying the Flash Gordon rights, but they were already tied-up with Dino De Laurentiis.[45] Lucas later recounted: I wanted to make a Flash Gordon movie, with all the trimmings, but I couldn't obtain the rights to the characters. So I began researching and went right back and found where Alex Raymond (who had done the original Flash Gordon comic strips in newspapers) had got his idea from. I discovered that he'd got his inspiration from the works of Edgar Rice Burroughs (author of Tarzan) and especially from his John Carter of Mars series books. I read through that series, then found that what had sparked Burroughs off was a science fantasy called Gulliver on Mars, written by Edwin Arnold and published in 1905. That was the first story in this genre that I have been able to trace. Jules Verne had got pretty close, I suppose, but he never had a hero battling against space creatures or having adventures on another planet. A whole new genre developed from that idea.[43] Director Francis Ford Coppola, who accompanied Lucas in trying to buy the Flash Gordon rights, recounted in 1999: "[George] was very depressed because he had just come back and they wouldn't sell him Flash Gordon. And he says, 'Well, I'll just invent my own.'"[45][46] He secured a two-film development deal with United Artists; the two films were American Graffiti and a space opera, tentatively titled "The Star Wars" and inspired by Flash Gordon.[47] Lucas would later claim that he had the idea for an original space opera long before 1971,[48] and that he even tried to film it before American Graffiti.[49] Believing that the bleak tone of THX 1138 led to its poor reception, Lucas chose to make Star Wars more optimistic; this is what led to its fun and adventurous tone.[50] Lucas's early plan was to buy the rights to the Flash Gordon film serials and comics of the 1930s and 1940s Lucas went to United Artists and showed them the script for American Graffiti, but they passed on the film, which was then picked up by Universal Pictures.[46] United Artists also passed on Lucas's space-opera concept, which he shelved for the time being.[51] After spending the next two years completing American Graffiti, Lucas turned his attention to his space opera.[43][46] He drew inspiration from politics of the era, later saying, "It was really about the Vietnam War, and that was the period where Nixon was trying to run for a [second] term."[52][53] Lucas began writing in January 1973, "eight hours a day, five days a week",[43] by taking small notes, inventing odd names and assigning them possible characterizations. Lucas would discard many of these by the time the final script was written, but he included several names and places in the final script or its sequels. He used these initial names and ideas to compile a two-page synopsis titled Journal of the Whills, which told the tale of the training of apprentice CJ Thorpe as a "Jedi-Bendu" space commando by the legendary Mace Windy.[54] Frustrated that his story was too difficult to understand,[55] Lucas then began writing a 13-page treatment called The Star Wars on April 17, 1973, which had narrative parallels with Kurosawa's 1958 film The Hidden Fortress.[56] While impressed with the "innocence of the story, plus the sophistication of the world"[49] of the film, United Artists declined to budget the film. Lucas and producer Gary Kurtz presented the film treatment to Universal Pictures, the studio that financed American Graffiti; while they agreed it could be "a very commercial venture", they had doubts about Mr. Lucas's ability to pull it all off,[49] and said that Lucas should follow American Graffiti with more consequential themes.[42] Coppola brought the project to a division of Paramount Pictures he ran with fellow directors Peter Bogdanovich and William Friedkin, but Friedkin questioned Lucas's ability to direct the film and he, along with Bogdanovich, declined to back it.[57] Walt Disney Productions also turned down the film.[58] Star Wars producer Gary Kurtz (pictured in 2002) Lucas said, "I've always been an outsider to Hollywood types. They think I do weirdo films."[42] According to Kurtz, Lew Wasserman, the studio's head, "just didn't think much of science fiction at that time, didn't think it had much of a future then, with that particular audience."[59] He said that "science fiction wasn't popular in the mid-'70s ... what seems to be the case generally is that the studio executives are looking for what was popular last year, rather than trying to look forward to what might be popular next year."[60] Kurtz said, "Although Star Wars wasn't like [then-current science fiction] at all, it was just sort of lumped into that same kind of category."[59] Lucas explained in 1977 that the film is not "about the future" and that it "is a fantasy much closer to the Brothers Grimm than it is to 2001." He added: "My main reason for making it was to give young people an honest, wholesome fantasy life, the kind my generation had. We had Westerns, pirate movies, all kinds of great things. Now they have The Six Million Dollar Man and Kojak. Where are the romance, the adventure, and the fun that used to be in practically every movie made?"[42] Lucas would later recontextualize the discussion around the film, saying it was born out of research into "psychological underpinings of mythology", a claim that had been dismissed by Kurtz as self-aggrandizing: "The whole idea of Star Wars as a mythological thing, I think came about because of [later Lucas] interviews that tied it to The Hero with a Thousand Faces"[61] and by Steven Hart and Michael Kaminski: "It is here that the true origin of Star Wars comes from – not from myth and legend, but from the 'schlock' sold on newspapers stands and played in matinees."[62] There were also concerns regarding the project's potentially high budget. Lucas and Kurtz, in pitching the film, said that it would be "low-budget, Roger Corman style, and the budget was never going to be more than—well, originally we had proposed about 8 million, it ended up being about 10. Both of those figures are very low budget by Hollywood standards at the time."[59] After Disney rejected the project,[58] Lucas and Kurtz persisted in securing a studio to support the film because "other people had read it and said, 'Yeah, it could be a good idea.'"[59] Lucas pursued Alan Ladd Jr., the head of 20th Century-Fox, and in June 1973 completed a deal to write and direct the film. 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, he did not invest in the movie."[5] The deal gave Lucas $150,000 to write and direct the film.[27] American Graffiti's positive reception afforded Lucas the leverage necessary to renegotiate his deal with Ladd and request the sequel rights to the film in August 1973. For Lucas, this deal protected Star Wars's potential sequels and most of the merchandising profits.[5]: 19 Writing It's the flotsam and jetsam from the period when I was twelve years old. All the books and films and comics that I liked when I was a child. The plot is simple—good against evil—and the film is designed to be all the fun things and fantasy things I remember. The word for this movie is fun. —George Lucas, 1977[42] Since commencing his writing process in January 1973, Lucas had done "various rewrites in the evenings after the day's work." He would write four different screenplays for Star Wars, "searching for just the right ingredients, characters and storyline. It's always been what you might call a good idea in search of a story."[43] By May 1974, he had expanded the treatment for The Star Wars into a rough draft screenplay,[5]: 14 [63] adding elements such as the Sith, the Death Star, and a general by the name of Annikin Starkiller. He changed Starkiller to an adolescent boy, and he shifted the general into a supporting role as a member of a family of dwarfs.[5][30] Lucas envisioned the Corellian smuggler, Han Solo, as a large, green-skinned monster with gills. He based Chewbacca on his Alaskan Malamute dog, Indiana (whom he would later use as eponym for his character Indiana Jones), who often acted as the director's "co-pilot" by sitting in the passenger seat of his car.[30] Lucas completed a second draft in January 1975 as Adventures of the Starkiller, Episode One: The Star Wars, making heavy simplifications and introducing the young hero on a farm as Luke Starkiller. Annikin became Luke's father, a wise Jedi knight. "The Force" was also introduced as a mystical energy field.[63] This draft still had some differences from the final version in the characters and relationships. For example, Luke had several brothers, as well as his father, who appears in a minor role at the end of the film. The script became more of a fairy tale quest as opposed to the action/adventure of the previous versions. This version ended with another text crawl, previewing the next story in the series. This draft was also the first to introduce the concept of a Jedi turning to the dark side: the draft included a historical Jedi who was the first to ever fall to the dark side, and then trained the Sith to use it. The script would introduce the concept of a Jedi Master and his son, who trains to be a Jedi under his father's friend; this would ultimately form the basis for the film and, later, the trilogy. However, in this draft, the father is a hero who is still alive at the start of the film.[64] Han Solo and Chewbacca's identities closely resembled those seen in the finished film.[65] According to Lucas, the second draft was over 200 pages long, and led him to split up the story into multiple films spanning over multiple trilogies.[66] Lucas began to rewrite this draft, creating a synopsis for the third draft. During work on this rewrite, Lucas began researching the science-fiction genre by watching films and reading books (including J. R. R. Tolkien's The Hobbit)[67][68] and comics.[69] He also claims to have read scholastic works like Joseph Campbell's The Hero with a Thousand Faces,[70] James George Frazer's The Golden Bough,[67] and even Bruno Bettelheim's The Uses of Enchantment.[71] These claims are doubted by Michael Kaminski and Chris Taylor, with Kaminski pointing out that Bettelheim's book would not come out until after Star Wars was filmed and adding that "the original trilogy-Campbell connection is greatly exaggerated and practically non-existent",[71] noting that, in fact, the second draft is "even closer to Campbell's structure" than the third.[71] According to Lucas, he wrote a rough draft of about 250–300 pages long, which contained the outline for the entire original Star Wars trilogy. He realized that it was too long for a single film, and decided to subdivide it into a trilogy.[5][72][73] Lucas stated that the story evolved over time and that "There was never a script completed that had the entire story as it exists now [in 1983] ... As the stories unfolded, I would take certain ideas and save them ... I kept taking out all the good parts, and I just kept telling myself I would make other movies someday."[74] He later described that, having split the script into three episodes, "the first part didn't really work",[75] so he had to take the ending off of Episode VI and put it in the original Star Wars, which resulted in a Death Star being included in both films.[76][b] In 1975, Lucas suggested he could make a trilogy, which "ends with the destruction of the Empire" and a possible prequel "about the backstory of Kenobi as a young man". After the film's smash success,[79] Lucasfilm announced that Lucas had already written "twelve stories in the Adventures of Luke Skywalker"[80] which, according to Kurtz, were set to be "separate adventures rather than direct sequels."[81] During the writing of the third draft, Lucas hired conceptual artist Ralph McQuarrie to create paintings of certain scenes, several of which Lucas included with his screenplay when he delivered it to 20th Century-Fox.[82] On February 27, the studio granted a budget of $5 million; this was later increased to $8.25 million.[5]: 17:30 Subsequently, Lucas started writing with a budget in mind, conceiving the cheap, "used" look of much of the film, and (with Fox having just shut down its special effects department) reducing the number of complex special effects shots called for by the script.[67] The third draft, dated August 1, 1975, was titled The Star Wars From the Adventures of Luke Starkiller. This third draft had most of the elements of the final plot, with only some differences in the characters and settings. The draft characterized Luke as an only child, with his father already dead, replacing him with a substitute named Ben Kenobi.[63] This script would be re-written for the fourth and final draft, dated January 1, 1976, as The Adventures of Luke Starkiller as taken from the Journal of the Whills, Saga I: The Star Wars. Lucas worked with his friends Gloria Katz and Willard Huyck to revise the fourth draft into the final pre-production script.[83] Lucas finished writing his script in March 1976, when the crew started filming. He said, "What finally emerged through the many drafts of the script has obviously been influenced by science-fiction and action-adventure I've read and seen. And I've seen a lot of it. I'm trying to make a classic sort of genre picture, a classic space fantasy in which all the influences are working together. There are certain traditional aspects of the genre I wanted to keep and help perpetuate in Star Wars."[43] During production, he changed Luke's name from Starkiller to Skywalker[5] and altered the title to The Star Wars and later Star Wars.[63] He would also continue to tweak the script during filming, including adding the death of Obi-Wan after realizing he served no purpose in the ending of the film.[84][85] For the film's opening crawl, Lucas originally wrote a composition consisting of six paragraphs with four sentences each.[27] He said, "The crawl is such a hard thing because you have to be careful that you're not using too many words that people don't understand. It's like a poem." Lucas showed his draft to his friends.[86] Director Brian De Palma, who was there, described it: "The crawl at the beginning looks like it was written on a driveway. It goes on forever. It's gibberish."[87] Lucas recounted what De Palma said the first time he saw it: "George, you're out of your mind! Let me sit down and write this for you." De Palma and Jay co*cks helped edit the text into the form used in the film.[86][88] Design Ralph McQuarrie in 2008 Ralph McQuarrie in 2008. Lucas commissioned him to create conceptual photographs for the film, which visualized the characters, costumes, props, and scenery. George Lucas recruited many conceptual designers, including Colin Cantwell, who worked on 2001: A Space Odyssey (1968), to conceptualize the initial spacecraft models; Alex Tavoularis to create the preliminary conceptual storyboard sketches of early scripts; and Ralph McQuarrie to visualize the characters, costumes, props, and scenery.[43] McQuarrie's pre-production paintings of certain scenes from Lucas's early screenplay drafts helped 20th Century-Fox visualize the film, which positively influenced their decision to fund the project. After McQuarrie's drawings for Lucas's colleagues Hal Barwood and Matthew Robbins (who were collaborating for a film) caught his interest, Lucas met with McQuarrie to discuss his plans for the untitled space fantasy film he wanted to make. Two years later, after completing American Graffiti, Lucas approached McQuarrie and asked him if he would be interested "in doing something for Star Wars."[89] McQuarrie produced a series of artworks from simple sketches; these set a visual tone for the film, and for the rest of the original trilogy.[43] Star Wars has no points of reference to Earth time or space, with which we are familiar, and it is not about the future but some galactic past or some extra-temporal present, it is a decidedly inhabited and used place where the hardware is taken for granted. —Lucas on his "used future" backdrop[90] The film was ambitious as Lucas wanted to create fresh prop prototypes and sets (based on McQuarrie's paintings) that had never been realized before in science fiction films. He commissioned production designers John Barry and Roger Christian, who were working on the sets of the film Lucky Lady (1975) when Lucas first approached them, to work on the production sets. Christian recounted in 2014: "George came to the set I was doing, it was an old salt factory design and he helped me shovel salt, just like two students in plaid shirts and sneakers. And we spoke and he looked at the set and couldn't believe it wasn't real." They had a conversation with Lucas on what he would like the film to appear like, with them creating the desired sets. Christian said that Lucas "didn't want anything [in Star Wars] to stand out, he wanted it [to look] all real and used. And I said, 'Finally somebody's doing it the right way.'"[91] Lucas described a "used future" concept to the production designers in which all devices, ships, and buildings to do with Tatooine or the Rebels looked aged and dirty,[5][92][93] as opposed to the sleeker designs of the Empire. Lucas also wanted the spaceships to look "cobbled together, as opposed to a sleek monoshape."[94] Barry said that the director "wants to make it look like it's shot on location on your average everyday Death Star or Mos Eisley Spaceport or local cantina." Lucas believed that "what is required for true credibility is a used future", opposing the interpretation of "future in most futurist movies" that "always looks new and clean and shiny."[90] Christian supported Lucas's vision, saying "All science fiction before was very plastic and stupid uniforms and Flash Gordon stuff. Nothing was new. George was going right against that."[91] The designers started working with the director before Star Wars was approved by 20th Century-Fox.[91] For four to five months, in a studio in Kensal Rise, England,[91][95] they attempted to plan the creation of the props and sets with "no money." Although Lucas initially provided funds using his earnings from American Graffiti, it was inadequate. As they could not afford to dress the sets, Christian was forced to use unconventional methods and materials to achieve the desired look. He suggested that Lucas use scrap in making the dressings, and the director agreed.[91] Christian said, "I've always had this idea. I used to do it with models when I was a kid. I'd stick things on them and we'd make things look old."[95] Barry, Christian, and their team began designing the props and sets at Elstree Studios.[90] According to Christian, the Millennium Falcon set was the most difficult to build. Christian wanted the interior of the Falcon to look like that of a submarine.[91] He found scrap airplane metal "that no one wanted in those days and bought them."[95] He began his creation process by breaking down jet engines into scrap pieces, giving him the chance to "stick it in the sets in specific ways."[91] It took him several weeks to finish the chess set (which he described as "the most encrusted set") in the hold of the Falcon. The garbage compactor set "was also pretty hard, because I knew I had actors in there and the walls had to come in, and they had to be in dirty water and I had to get stuff that would be light enough so it wouldn't hurt them but also not bobbing around."[91] A total of 30 sets consisting of planets, starships, caves, control rooms, cantinas, and the Death Star corridors were created; all of the nine sound stages at Elstree were used to accommodate them. The massive rebel hangar set was housed at a second sound stage at Shepperton Studios; the stage was the largest in Europe at the time.[90] Filming See also: List of Star Wars filming locations In 1975, Lucas formed his own 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. Most of the visual effects used pioneering digital motion control photography developed by John Dykstra and his team, which created the illusion of size by employing small models and slowly moving cameras.[5] Brian Johnson also turned down the opportunity to work on the film because he was busy working on Space: 1999.[96] Lucas tried "to get a cohesive reality" for his feature. Since the film is a fairy tale, as he had described, "I still wanted it to have an ethereal quality, yet be well composed and, also, have an alien look." He designed the film to have an "extremely bizarre, Gregg Toland-like surreal look with strange over-exposed colors, a lot of shadows, a lot of hot areas." Lucas wanted Star Wars to embrace the combination of "strange graphics of fantasy" and "the feel of a documentary" to impress a distinct look. To achieve this, he hired the British cinematographer Gilbert Taylor.[90] Originally, Lucas's first choice for the position was Geoffrey Unsworth, who also provided the cinematography for 2001: A Space Odyssey.[59] Unsworth was interested in working with the director, and initially accepted the job when it was offered to him by Lucas and Kurtz. He eventually withdrew to work on the Vincente Minnelli-directed A Matter of Time (1976) instead, which "really annoy[ed]" Kurtz.[59] Lucas called up for other cinematographers, and eventually chose Taylor, basing his choice on Taylor's cinematography for Dr. Strangelove and A Hard Day's Night (both 1964). On his decision, Lucas said: "I thought they were good, eccentrically photographed pictures with a strong documentary flavor."[90] Taylor said that Lucas, who was consumed by the details of the complicated production, "avoided all meetings and contact with me from day one, so I read the extra-long script many times and made my own decisions as to how I would shoot the picture." Taylor also said, "I took it upon myself to experiment with photographing the lightsabers and other things onstage before we moved on to our two weeks of location work in Tunisia."[97] Taylor was aware of the "enormous amount of process work" to follow principal photography and believed "a crisp result would help."[98] During production, Lucas and Taylor—whom Kurtz called "old-school" and "crotchety"[99]—had disputes over filming.[59] With a background in independent filmmaking, Lucas was accustomed to creating most of the elements of the film himself. His lighting suggestions were rejected by Taylor, who believed that Lucas was overstepping his boundaries by giving specific instructions, sometimes even moving lights and cameras himself. Taylor refused to use the soft-focus lenses and gauze Lucas wanted after Fox executives complained about the look.[99] Kurtz stated that "In a couple of scenes ... rather than saying, 'It looks a bit over lit, can you fix that?', [Lucas would] say, 'turn off this light, and turn off that light.' And Gil would say, 'No, I won't do that, I've lit it the way I think it should be—tell me what's the effect that you want, and I'll make a judgment about what to do with my lights.'"[59] Hotel Sidi Driss, the underground building in Matmata, Tunisia, used to film Luke's home Originally, Lucas envisioned the planet of Tatooine, where much of the film would take place, as a jungle planet. Kurtz traveled to the Philippines to scout locations; however, because of the idea of spending months filming in the jungle would make Lucas "itchy", the director refined his vision and made Tatooine a desert planet instead.[100] Kurtz then researched all American, North African, and Middle Eastern deserts, and found Tunisia, near the Sahara desert, as the ideal location.[90] Lucas later stated that he had wanted to make it look like outer space.[101] When principal photography began on March 22, 1976, in the Tunisian desert for the scenes on Tatooine, the project faced several problems.[102] Lucas fell behind schedule in the first week of shooting due to malfunctioning props and electronic breakdowns.[102][103] Moreover, a rare Tunisian rainstorm struck the country, which further disrupted filming. Taylor said, "you couldn't really see where the land ended and the sky began. It was all a gray mess, and the robots were just a blur." Given this situation, Lucas requested heavy filtration, which Taylor rejected, who said: "I thought the look of the film should be absolutely clean ... But George saw it differently, so we tried using nets and other diffusion. He asked to set up one shot on the robots with a 300mm, and the sand and sky just mushed together. I told him it wouldn't work, but he said that was the way he wanted to do the entire film, all diffused." This difference was later settled by 20th Century-Fox executives, who backed Taylor's suggestion.[104] Filming began in Chott el Djerid, while a construction crew in Tozeur took eight weeks to transform the desert into the desired setting.[90] Other locations included the sand dunes of the Tunisian desert near Nafta, where a scene featuring a giant skeleton of a creature lying in the background as R2-D2 and C-3PO make their way across the sands was filmed.[105] When Daniels wore the C-3PO outfit for the first time in Tunisia, the left leg piece shattered down through the plastic covering his left foot, stabbing him.[103] He also could not see through his costume's eyes, which was covered with gold to prevent corrosion.[100] Abnormal radio signals caused by the Tunisian sands made the radio-controlled R2-D2 models run out of control. Baker said: "I was incredibly grateful each time an [R2] would actually work right."[100] After several scenes were filmed against the volcanic canyons outside Tozeur, production moved to Matmata to film Luke's home on Tatooine. Lucas chose Hotel Sidi Driss, which is larger than the typical underground dwellings, to shoot the interior of Luke's homestead.[105] Additional scenes for Tatooine were filmed at Death Valley in North America.[106] After two-and-a-half weeks of filming in Tunisia,[105] production moved to Elstree Studios, near London, to film interior scenes.[103] Elstree was chosen as a studio over other options in Hollywood or elsewhere. Star Wars required the use of nine different sound stages simultaneously, which most studios couldn't accommodate.[107] Because of stricter working conditions, filming in Britain had to finish by 5:30 pm, unless Lucas was in the middle of a scene.[27] He often made requests for more time to shoot, but they were usually turned down.[5] Despite Lucas's efforts, his crew had little interest in the film. Most of the crew considered the project a "children's film", rarely took their work seriously, and often found it unintentionally humorous.[5][108] Actor Baker later confessed that he thought the film would be a failure. Ford found it strange that "there's a princess with weird buns in her hair", and called Chewbacca a "giant in a monkey suit."[5] The Elstree sets designed by John Barry, according to Gilbert Taylor, "were like a coal mine." He said that "they were all black and gray, with really no opportunities for lighting at all." To resolve the problem, he worked the lighting into the sets by chopping in its walls, ceiling and floors. This would result in "a 'cut-out' system of panel lighting", with quartz lamps that could be placed in the holes in the walls, ceiling and floors. His idea was supported by the Fox studio, which agreed that "we couldn't have this 'black hole of Calcutta.'" The lighting approach Taylor devised "allowed George to shoot in almost any direction without extensive relighting, which gave him more freedom."[104] In total, the filming in Britain took 14-and-a-half weeks.[105] Tikal, Guatemala, which served as the setting of the Rebel base Lucas commissioned computer programmer Larry Cuba to create the animated Death Star plans shown at the rebel base on Yavin 4. This was written with the GRASS programming language, exported to a Vector General monitor and filmed on 35 mm to be rear-projected on the set. It is the only computer animation in the original version of the film.[109] The Yavin scenes were filmed in the Mayan temples at Tikal, Guatemala. Lucas selected the location as a potential filming site after seeing a poster of it hanging at a travel agency while he was filming in Britain. This inspired him to send a film crew to Guatemala in March 1977 to shoot scenes. While filming in Tikal, the crew paid locals with a six-pack of beer to watch over the camera equipment for several days.[110] While shooting, Lucas rarely spoke to the actors, who believed 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] Kurtz stated that "it happened a lot where he would just say, 'Let's try it again a little bit faster.' That was about the only instruction he'd give anybody. A lot of actors don't mind—they don't care, they just get on with it. But some actors really need a lot of pampering and a lot of feedback, and if they don't get it, they get paranoid that they might not be doing a good job." Kurtz has said that Lucas "wasn't gregarious, he's very much a loner and very shy, so he didn't like large groups of people, he didn't like working with a large crew, he didn't like working with a lot of actors."[59] 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.[5][103] Initially, Fox approved $8 million for the project; Gary Kurtz said: "we proceeded to pick a production plan and do a more final budget with a British art department and look for locations in North Africa, and kind of pulled together some things. Then, it was obvious that 8 million wasn't going to do it—they had approved 8 million." After requests from the team that "it had to be more," the executives "got a bit scared."[59] For two weeks, Lucas and his crew "didn't really do anything except kind of pull together new budget figures." At the same time, after production fell behind schedule, Ladd told Lucas he had to finish production within a week or he would be forced to shut down production. Kurtz said that "it came out to be like 9.8 or .9 or something like that, and in the end they just said, 'Yes, that's okay, we'll go ahead.'"[59] The crew split into three units, with those units led by Lucas, Kurtz, and production supervisor Robert Watts. Under the new system, the project met the studio's deadline.[5][103] Lucas had to write around a scene featuring a human Jabba the Hutt, which was scrapped due to budget and time constraints.[111] Lucas would later claim he wanted to superimpose a stop-motion creature over the actor—which he did with computer-generated imagery (CGI) in the 1997 Special Edition.[112][113] All of the original script drafts describe Jabba as humanoid, with the notion of him being an alien not coming up until work on the 1979 re-release.[114] According to Greedo actor Paul Blake, his own character was created as a result of Lucas having to cut the Jabba scene.[115] 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][103] Post-production was equally stressful due to increasing pressure from 20th Century-Fox. Moreover, Hamill's car accident left his face visibly scarred, which restricted re-shoots.[103] Post-production Steven Spielberg said he was the only person in the audience to have enjoyed the film in its early cut screening. Star Wars was originally slated for release on Christmas 1976; however, its production delays pushed the film's release to mid-1977.[116] Editor John Jympson began cutting the film together while Lucas was still filming in Tunisia; as Lucas noted, the editor was in an "impossible position" because Lucas had not explained any of the film's material to him. When Lucas watched Jympson's rough cut for the first time, he disliked what he saw. J. W. Rinzler wrote that "Jympson's selection of takes was questionable, and he seemed to be having trouble doing match-cuts." Lucas was prepared to give Jympson more time; Jympson disliked Lucas's working style.[117] As production went on, Lucas still disapproved of Jympson's cut and fired him halfway through the film's production. He commented: "Unfortunately it didn't work out. It's very hard when you are hiring people to know if they are going to mesh with you and if you are going to get what you want. In the end, I don't think he fully understood the movie and what I was trying to do. I shoot in a very peculiar way, in a documentary style, and it takes a lot of hard editing to make it work."[118] After attempting to persuade Jympson to cut the film his way, Lucas replaced him with Paul Hirsch, Richard Chew, and his then-wife, Marcia Lucas, who was also cutting the film New York, New York (1977) with Lucas's friend Martin Scorsese. Richard Chew considered the film to have been cut in a slow, 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.[5] Jympson's original assembly contained a large amount of footage which differed from the final cut of the film, including several alternate takes and a number of scenes which were subsequently deleted to improve the narrative pace. The most significant material cut was a series of scenes from the first part of the film which introduced Luke Skywalker. These early scenes, set in Anchorhead on the planet Tatooine, presented the audience with Luke's everyday life among his friends as it is affected by the space battle above the planet; they also introduced the character of Biggs Darklighter, Luke's closest friend who departs to join the rebellion.[119] Chew explained the rationale behind removing these scenes as a narrative decision: "In the first five minutes, we were hitting everybody with more information than they could handle. There were too many story lines to keep straight: the robots and the Princess, Vader, Luke. So we simplified it by taking out Luke and Biggs."[120] In an examination of this early cut, which has come to be called the "Lost Cut", David West Reynolds noted the film adopted a "documentary-like" approach that emphasized "clarity, especially in geographic and spatial relationships" over "dramatic or artistic concerns". As a result, the film was more "leisurely paced".[121] Reynolds estimated this early cut contained "30–40%" different footage from the final cut, with most of the differences coming from extended cuts or alternate takes rather than deleted scenes.[121] After viewing a rough cut, Alan Ladd likened the early Anchorhead scenes to "American Graffiti in outer space". Lucas was looking for a way of accelerating the storytelling, and removing Luke's early scenes would distinguish Star Wars from his earlier teenage drama and "get that American Graffiti feel out of it".[119] Lucas also stated that he wanted to move the narrative focus to C-3PO and R2-D2: "At the time, to have the first half-hour of the film be mainly about robots was a bold idea."[122][123] Meanwhile, Industrial Light & Magic was struggling to achieve unprecedented special effects. The company had spent half of its budget on four shots that Lucas deemed unacceptable.[103] 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] Burtt had created a library of sounds that Lucas referred to as an "organic soundtrack". Blaster sounds were a modified recording of a steel cable, under tension, being struck. The lightsaber sound effect was developed by Burtt as a combination of the hum of idling interlock motors in aged movie projectors and interference caused by a television set on a shieldless microphone. Burtt discovered the latter accidentally as he was looking for a buzzing, sparking sound to add to the projector-motor hum.[124] For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Lucas and Burtt created the robotic voice of R2-D2 by filtering their voices through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a scuba regulator implanted with a microphone,[125] which began the idea of Vader having been a burn-victim, which had not been the case during production.[126] In February 1977, Lucas screened an early cut of the film for Fox executives, several director friends, along with Roy Thomas and Howard Chaykin of Marvel Comics who were preparing a Star Wars comic book. The cut had a different crawl from the finished version and used Prowse's voice for Darth Vader. It also lacked most special effects; hand-drawn arrows took the place of blaster beams, and when the Millennium Falcon fought TIE fighters, the film cut to footage of World War II dogfights.[127] The reactions of the directors present, such as Brian De Palma, John Milius, and Steven Spielberg, disappointed Lucas. Spielberg, who said he was the only person in the audience to have enjoyed the film, 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, Ladd and the other studio executives loved the film; 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] The delays increased the budget from $8 million to $11 million.[128] With the project $2 million over budget, Lucas was forced to make numerous artistic compromises to complete Star Wars. Ladd reluctantly agreed to release an extra $20,000 funding and in early 1977 second unit filming completed a number of sequences including exterior desert shots for Tatooine in Death Valley and China Lake Acres in California, and exterior Yavin jungle shots in Guatemala, along with additional studio footage to complete the Mos Eisley Cantina sequence. Soundtrack Main article: Star Wars (soundtrack) Original vinyl release On the recommendation of Spielberg, Lucas hired John Williams, who had worked with Spielberg on the film Jaws, for which he won an Academy Award. Lucas originally hired Williams to consult on music editing choices and to compose the source music for the music, telling Williams that he intends to use extant music.[129][130] Lucas believed that the film would portray visually foreign worlds, but that a grand musical score would give the audience an emotional familiarity. Therefore, Lucas assembled his favorite orchestral pieces for the soundtrack, until Williams convinced him that an original score would be unique and more unified, having viewed Lucas's music choices as a temp track. However, a few of Williams's eventual pieces were influenced by the temp track: the "Main Title Theme" was inspired by the theme from the 1942 film Kings Row, scored by Erich Wolfgang Korngold;[131] and the track "Dune Sea of Tatooine" drew from the soundtrack of Bicycle Thieves, scored by Alessandro Cicognini. Lucas would later deny having ever conceived using extant music for the film.[129] In March 1977, Williams conducted the London Symphony Orchestra to record the Star Wars soundtrack in 12 days.[5] The original soundtrack was released as a double LP in 1977 by 20th Century Records. 20th Century Records also released The Story of Star Wars that year, a narrated audio drama adaptation of the film utilizing some of its original music, dialogue, and sound effects. The American Film Institute's list of best film scores ranks the Star Wars soundtrack at number one.[132] Cinematic and literary allusions See also: Star Wars sources and analogues War films such as The Dam Busters and 633 Squadron, which used aircraft like the Avro Lancaster (top) and the Mosquito (bottom), respectively, were inspirations for the battle sequences According to Lucas, different concepts of the film were inspired by numerous sources, such as Beowulf and King Arthur for the origins of myth and religion.[5] Lucas had originally intended to remake the 1930s Flash Gordon film serials but was unable to obtain the rights; thus, he resorted to drawing from Akira Kurosawa's 1958 film The Hidden Fortress and, allegedly, Joseph Campbell's The Hero with a Thousand Faces.[45][133] Star Wars features many elements derived from Flash Gordon, such as the conflict between rebels and Imperial Forces, the wipes between scenes, the fusion of futuristic technology and traditional mythology, and the famous opening crawl that begins each film.[133][134] The film has also been compared to The Wizard of Oz.[135][136] The influence of The Hidden Fortress can be seen in the relationship between C-3PO and R2-D2, which evolved from the two bickering peasants, Tahei and Matashichi, and a Japanese family crest seen in the earlier film is similar to the Imperial Crest. Star Wars also borrows heavily from another Kurosawa film, Yojimbo (1961).[133] In both films, several men threaten the hero, bragging about how wanted they are by the authorities, and have an arm being cut off by a blade; Kuwabatake Sanjuro (played by Toshiro Mifune) is offered "twenty-five ryo now, twenty-five when you complete the mission", whereas Han Solo is offered "Two thousand now, plus fifteen when we reach Alderaan." Its sequel Sanjuro (1962) also inspired the hiding-under-the-floor trick featured in the film.[133] Another source of influence was Lawrence of Arabia (1962), which inspired the film's visual approach, including long-lens desert shots. There are also thematic parallels, including the freedom fight by a rebel army against an empire, and politicians who meddle behind the scenes.[133] Tatooine is similar to the desert planet of Arrakis from Frank Herbert's Dune series. Arrakis is the only known source of a longevity spice; Star Wars makes references to spice in "the spice mines of Kessel", and a spice freighter. Other similarities include those between Princess Leia and Princess Alia, and Jedi mind tricks and "The Voice", a controlling ability used by the Bene Gesserit. In passing, Uncle Owen and Aunt Beru are "moisture farmers"; in Dune, dew collectors are used by Fremen to "provide a small but reliable source of water."[137] Frank Herbert reported that "David Lynch, [director of the 1984 film Dune] had trouble with the fact that Star Wars used up so much of Dune." The pair found "sixteen points of identity" and they calculated that "the odds against coincidence produced a number larger than the number of stars in the universe."[138] The Death Star assault scene was modeled after the World War II film The Dam Busters (1955), in which Royal Air Force Lancaster bombers fly along heavily defended reservoirs and aim bouncing bombs at dams, to cripple the heavy industry of Germany's Ruhr region.[139] Some of the dialogue in The Dam Busters is repeated in the Star Wars climax; Gilbert Taylor also filmed the special effects sequences in The Dam Busters. In addition, the sequence was partially inspired by the climax of the film 633 Squadron (1964), directed by Walter Grauman,[140] in which RAF de Havilland Mosquitos attack a German heavy water plant by flying down a narrow fjord to drop special bombs at a precise point, while avoiding anti-aircraft guns and German fighters. Clips from both films were included in Lucas's temporary dogfight footage version of the sequence.[141] There are also similarities in the Death Star trench sequence to the bridge attack scene in The Bridges at Toko-Ri.[142] The opening shot of Star Wars, in which a detailed spaceship fills the screen overhead, is a reference to the scene introducing the interplanetary spacecraft Discovery One in Stanley Kubrick's seminal 1968 film 2001: A Space Odyssey. The earlier big-budget science fiction film influenced the look of Star Wars in many other ways, including the use of EVA pods and hexagonal corridors. The Death Star has a docking bay reminiscent of the one on the orbiting space station in 2001.[143] Although golden and male, C-3PO was inspired by the silver female robot Maria, the Maschinenmensch from Fritz Lang's 1927 film Metropolis.[144] Marketing Rendition of Dan Perri's original Star Wars logotype While the film was in production, a logo was commissioned from Dan Perri, a title sequence designer who had worked on the titles for films such as The Exorcist (1973) and Taxi Driver (1976). Perri devised a foreshortened STAR WARS logotype consisting of block-capital letters filled with stars and skewed towards a vanishing point. This logo design was originally conceived to follow the same perspective as the film's opening crawl. In the end, Perri's logo was not used for the film's opening title sequence, although it was used widely on pre-release print advertising and on cinema marquees.[145][146] The logotype eventually selected for on-screen use originated in a promotional brochure that was distributed by Fox to cinema owners in 1976. This brochure was designed by Suzy Rice, a young art director at the Los Angeles advertising agency Seiniger Advertising. On a visit to ILM in Van Nuys, Rice was instructed by Lucas to produce a logo that would intimidate the viewer, and he reportedly asked for the logo to appear "very fascist" in style. Rice's response to her brief was to use an outlined, modified Helvetica Black. After some feedback from Lucas, Rice decided to join the S and T of STAR and the R and S of WARS. Lucas signed off on the brochure in between takes while filming inserts for the Mos Eisley Cantina scene. Gary Kurtz was impressed with Rice's logo and selected it over Perri's design for the film's opening titles, after modifying the letter W to flatten the pointed tips originally designed by Rice. This finalized the design of one of the most recognizable logos in cinema design, although Rice's contribution was not credited in the film.[145] For the US release in 1977, 20th Century-Fox commissioned a promotional film poster from the advertising agency Smolen, Smith and Connolly. They used the freelance artist Tom Jung who was given the brief of "good over evil." His poster, known as Style ‘A’, depicted Luke Skywalker standing in a heroic pose, brandishing a shining lightsaber above his head, with Princess Leia below him, and a large, ghostly image of Darth Vader's helmet looming behind them. Some Fox executives considered this poster "too dark" and commissioned the Brothers Hildebrandt, a pair of well-known fantasy artists, to rework the poster for the UK release. When the film opened in British theaters, the Hildebrandts' Style ‘B’ poster was used in cinema billboards. Fox and Lucasfilm subsequently decided that they wanted to promote the new film with a less stylized and more realistic depiction of the lead characters. Producer Gary Kurtz turned to the film poster artist Tom Chantrell, who was already well known for his prolific work for Hammer horror films, and commissioned a new version. Two months after Star Wars opened, the Hildebrandts' poster was replaced by Chantrell's Style ‘C’ poster in UK cinemas.[147][148][149][150] Charles Lippincott was the marketing director for Star Wars. As 20th Century-Fox gave little support for marketing beyond licensing T-shirts and posters, Lippincott was forced to look elsewhere. He secured deals with Marvel Comics for a comic book adaptation, and with Del Rey Books for a novelization. A fan of science fiction, he used his contacts to promote the film at the San Diego Comic-Con and elsewhere within science-fiction fandom.[5][60] Release A crowd outside Leicester Square Theatre the day after the film's premiere. While initially being released only in a limited theatrical run, Star Wars was an unprecedented success for 20th Century-Fox, soon becoming a blockbuster hit and expanding to a much wider release. It would eventually see many theatrical and home video re-releases. Premiere and initial release Worried 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 May 25, the Wednesday before Memorial Day. However, only 37 theaters ordered the film to be shown in North America. In response, the studio demanded that theaters order Star Wars if they wanted the eagerly anticipated The Other Side of Midnight based on Sidney Sheldon's 1973 novel by the same name.[5] On opening day I ... did a radio call-in show ... this caller, was really enthusiastic and talking about the movie in really deep detail. I said, 'You know a lot about the film.' He said, 'Yeah, yeah, I've seen it four times already.' —Producer Gary Kurtz, on when he realized Star Wars had become a cultural phenomenon[151] Star Wars debuted on Wednesday, May 25, 1977, in fewer than 32 theaters, and eight more on Thursday and Friday. Kurtz said in 2002, "That would be laughable today." It immediately broke box office records, effectively becoming one of the first blockbuster films, and Fox accelerated plans to broaden its release.[60][152] Lucas himself was not able to predict how successful Star Wars would be. After visiting the set of the Steven Spielberg film Close Encounters of the Third Kind, Lucas was sure Close Encounters would outperform the yet-to-be-released Star Wars at the box office. Spielberg disagreed, and believed Star Wars would be the bigger hit. Lucas proposed they trade 2.5% of the profit on each other's films; Spielberg took the trade, and still receives 2.5% of the profits from Star Wars.[153] Amidst Fox pessimism, Lucas elected to forgo his option to an extra $500,000 fee for directing Star Wars, in exchange for obtaining the merchandising and sequel rights for the movie from Fox.[154] The Other Side of Midnight was supposed to be the studio's big summer hit, while Lucas's movie was considered the "B track" for theater owners nationwide. While Fox requested Mann's Chinese Theatre, the studio promised that the film needed only two weeks.[155] Fearing that the film would fail, Lucas had made plans to be in Hawaii with his wife Marcia. Having forgotten that the film would open that day,[156] he spent most of Wednesday in a sound studio in Los Angeles. When Lucas went out for lunch with Marcia, they encountered a long line of people along the sidewalks leading to Mann's Chinese Theatre, waiting to see Star Wars.[103] He was still skeptical of the film's success, even with enthusiastic reports from Ladd and the studio. While in Hawaii, it was not until he watched Walter Cronkite discuss the gigantic crowds for Star Wars on the CBS Evening News that Lucas realized he had become very wealthy. Francis Ford Coppola, who needed money to finish Apocalypse Now, sent a telegram to Lucas's hotel asking for funding.[156] Even technical crew members, such as model makers, were asked for autographs, and cast members became instant household names;[5] when Ford visited a record store to buy an album, enthusiastic fans tore half his shirt off.[156] The film was a huge success for 20th Century-Fox, and was credited for reinvigorating the company. Within three weeks of the film's release, the studio's stock price had doubled to a record high. Prior to 1977, 20th Century-Fox's greatest annual profits were $37 million, while in 1977, the company broke that record by posting a profit of $79 million.[5] 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 him to fear that the film would be unsuccessful. Ladd was reassured by his local contacts that this was a positive reaction considering that in Japan, silence was the greatest honor to a film, and the subsequent strong box office returns confirmed its popularity.[5] After two weeks William Friedkin's Sorcerer replaced Star Wars at Mann's Chinese Theatre because of contractual obligations; Mann Theatres moved the film to a less-prestigious location after quickly renovating it.[155] When Star Wars made an unprecedented second opening at Mann's Chinese Theatre on August 3, 1977, after Sorcerer failed, thousands of people attended a ceremony in which C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt.[152][5] At that time Star Wars was playing in 1,096 theaters in the United States.[157] Approximately 60 theaters played the film continuously for over a year;[158] in 1978, Lucasfilm distributed "Birthday Cake" posters to those theaters for special events on May 25, the one-year anniversary of the film's release.[159] Star Wars premiered in the UK on December 27, 1977. News reports of the film's popularity in America caused long lines to form at the two London theaters that first offered the film; it became available in 12 large cities in January 1978, and other London theaters in February.[160] Theatrical re-releases See also: Changes in Star Wars re-releases Introductory graphics for the film that feature Suzy Rice's Star Wars logotype; the film's cinematic re-release in 1981 added Episode IV and A New Hope to the head of the opening crawl. Star Wars was re-released theatrically in 1978, 1979, 1981 and 1982,[161] with the subtitles Episode IV and A New Hope being added in 1981. The film was digitally remastered with some altered scenes in 1997 for a theatrical rerelease, dubbed the "Special Edition." Since its original release, the film has also been dubbed and subtitled into numerous languages. In 2010, Lucas announced that all six previously released Star Wars films would be scanned and transferred to 3D for a theatrical release, but only 3D versions of the prequel trilogy were completed before the franchise was sold to Disney in 2012.[162] In 2013, Star Wars was dubbed into Navajo, making it the first major motion picture translated into a Native American language.[163][164] The subtitles Episode IV and A New Hope were first published on a title page for the film's script in the 1979 book The Art of Star Wars,[c] in what Kaminski calls "outright forgery", remarking that "the script itself wasn't even the authentic revised fourth draft, but more like a transcription of the finished film, edited and combined with the real fourth draft."[166] The title was changed when the film entered re-releases.[27][167] Official sources state that the change was made at the theatrical re-release of April 10, 1981.[168][169][d] The retronymic inclusion of subtitles brought the film into line with the introduction to its sequel, The Empire Strikes Back, which was reconceived during rewrites as "Episode V" and eventually released as such in 1980.[170][171] Lucas claims this was intended from the beginning, and was only dropped to avoid confusing audiences: "Star Wars was the fourth story in the saga and was to have been called 'Star Wars, Episode Four: A New Hope'."[172] In 2014, Kurtz recalled they had toyed with the idea "of calling it Episode III, IV, or V."[173][e] Hamill recalls having asked Lucas "Why are we doing episode four?" and being answered that Lucas wanted "to give the audience a feeling that they'd missed something and that they were coming into the middle of this story"[177] or that it was "the most commercial section" of the overriding story.[81] Kaminski, however, points out that all early drafts carry an "Episode One" subtitle, and that even early drafts of the sequel are called "Episode II."[81] Special Edition The 20th anniversary theatrical release poster of the 1997 Special Edition (art by Drew Struzan) After ILM began to create CGI for Steven Spielberg's 1993 film Jurassic Park, Lucas decided that digital technology had caught up to his "original vision" for Star Wars.[5] For the film's 20th anniversary in 1997, Star Wars was digitally remastered with some altered scenes and re-released to theaters, along with The Empire Strikes Back and Return of the Jedi, under the campaign title Star Wars Trilogy: Special Edition. This version of the film runs 124 minutes. The Special Edition contains visual shots and scenes that were unachievable in the original release due to financial, technological, and time constraints; one such scene involves a meeting between Han Solo and Jabba the Hutt.[5] The process of creating the new visual effects for Star Wars was featured in the documentary film, Special Effects: Anything Can Happen, directed by Star Wars sound designer Ben Burtt.[178] Although most changes are minor or cosmetic in nature, many fans and critics believe that Lucas degraded the film with the additions.[179][180][181][182] A particularly controversial change in which a bounty hunter named Greedo shoots first when confronting Han Solo has inspired T-shirts bearing the phrase "Han Shot First."[183][184][185] Star Wars required extensive recovery of misplaced footage and restoration of the whole film before Lucas's Special Edition modifications could be attempted. It was discovered that in addition to the negative motion picture stocks commonly used on feature films, Lucas had also used Color Reversal Internegative (CRI) film, a reversal stock subsequently discontinued by Kodak. CRI proved to deteriorate faster than negative stocks did, although it theoretically was of higher quality, as it saved two generations (an interpositive followed by an internegative), where employed. Because of this, the entire composited negative had to be disassembled, and the CRI portions cleaned separately from the negative portions. Once the cleaning was complete, the film was scanned into the computer for restoration. In many cases, entire scenes had to be reconstructed from their individual elements. Digital compositing technology allowed the restorers to correct for problems such as misalignment of mattes and "blue-spill."[186] In 1989, the 1977 theatrical version of Star Wars was selected for preservation by the National Film Registry of the United States Library of Congress.[187] 35mm reels of the 1997 Special Edition were initially presented for preservation because of the difficulty of transferring from the original prints,[188] but it was later revealed that the Library possessed a copyright deposit print of the original theatrical release. By 2015, this copy had been transferred to a 2K scan, now available to be viewed by appointment.[189] Home media In the United States, France, West Germany, Italy and Japan, parts of or the whole film were released on Super 8.[190] The whole film was released for all these countries (including subtitled silent editions and an American Spanish-language edition), except for Italy, where the film (titled "Guerre stellari") was released by IE International as eight brief scenes: Battaglia spaziale ("Space battle", the Battle of Yavin), Duello col laser ("Duel with the laser",[f] Obi-Wan and Darth Vader's duel), La cattura dell'astronave ("The capture of the spaceship"), La liberazione di Leia ("Leia's liberation", the adventure on the Death Star), Messaggio dallo spazio ("Message from space", Leia giving R2-D2 the plans), SOS nella galassia ("SOS in the galaxy") and Trappola mortale ("Deadly trap", the Falcon being captured by the Death Star). A full Super 8 version of the film was only made available in Italy as a pirate six-reel set.[191] Clips were also released for the Movie Viewer toy projector by Kenner Products[192] in cassettes featuring very short scenes, including Assault on Death Star, Battle in Hyperspace, Danger at the Cantina, and Destroy Death Star.[193] Star Wars debuted on Betamax,[194] CED,[195] LaserDisc,[196] Video 2000, and VHS[197][198] between the 1980s and 1990s by CBS/Fox Video. The final issue of the original theatrical release (pre-Special Edition) to VHS format occurred in 1995, as part of "Last Chance to Own the Original" campaign, available as part of a trilogy set and as a standalone purchase.[199] The film was released for the first time on DVD on September 21, 2004, in a box set with The Empire Strikes Back, Return of the Jedi, and a bonus disc of supplementary material. The films were digitally restored and remastered, and more changes were made by Lucas. The DVD features a commentary track from 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, teasers, theatrical trailers, TV spots, still galleries, an exclusive preview of 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.[200] The set was reissued in December 2005 as part of a three-disc limited edition boxed set without the bonus disc.[201] The trilogy was re-released on separate two-disc limited edition DVD sets from September 12 to December 31, 2006, and again in a limited edition tin box set on November 4, 2008;[202] the original versions of the films were added as bonus material. The release was met with criticism as the unaltered versions were from the 1993 non-anamorphic LaserDisc masters and were not re-transferred using modern video standards. The transfer led to problems with colors and digital image jarring.[203] All six Star Wars films were released by 20th Century Fox Home Entertainment on Blu-ray Disc on September 16, 2011 in three different editions, with A New Hope available in both a box set of the original trilogy[204][205] and with all six films on Star Wars: The Complete Saga, which includes nine discs and over 40 hours of special features.[206] The original theatrical versions of the films were not included in the box set. New changes were made to the films, provoking mixed responses.[207] On April 7, 2015, 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.[g][208][209] In December 2016, Rogue One (2016) director Gareth Edwards revealed that Lucasfilm had recently completed a 4K restoration of Star Wars, but did not elaborate on whether the restored version was based on the 1977 original or a subsequent re-release.[210] Walt Disney Studios Home Entertainment reissued the film on Blu-ray, DVD, and digital download on September 22, 2019.[211] Additionally, all six films were available for 4K HDR and Dolby Atmos streaming on Disney+ upon the service's launch on November 12, 2019.[212] This version of the film was released by Disney on 4K Ultra HD Blu-ray box set on March 31, 2020.[213] Reception Box office Star Wars remains one of the most financially successful films of all time. The film opened on a Wednesday in 32 theaters expanding to 43 screens on the Friday and earning $2,556,418 in its first six days to the end of the Memorial Day weekend[214] ($11.4 million in 2021 dollars). Per Variety's weekly box office charts, the film was number one at the US box office for its first three weeks. It was replaced by The Deep but gradually added screens and returned to number one in its seventh week, building up to $7 million weekends as it entered wide release ($31.3 million in 2021 dollars)[3] and remained number one for the next 15 weeks. It replaced Jaws as the highest-earning film in North America just six months into release,[215] eventually earning over $220 million during its initial theatrical run ($984 million in 2021 dollars).[216] Star Wars entered international release towards the end of the year, and in 1978 added the worldwide record to its domestic one,[217] earning $410 million in total.[218] Its biggest international market was Japan, where it grossed $58.4 million.[219] On July 21, 1978 while still in current release in 38 theaters in the U.S., the film expanded into a 1,744 theater national saturation windup of release and set a new U.S. weekend record of $10,202,726.[220][221][222] The gross prior to the expansion was $221,280,994. The expansion added a further $43,774,911 to take its gross to $265,055,905. Reissues in 1979 ($22,455,262), 1981 ($17,247,363), and 1982 ($17,981,612) brought its cumulative gross in the U.S and Canada to $323 million,[223][224] and extended its global earnings to $530 million.[225] The film remained the highest-grossing film of all time until E.T. the Extra-Terrestrial broke that record in 1983.[226] The release of the Special Edition in 1997 was the highest-grossing reissue of all-time with a gross of $138.3 million, bringing its total gross in the United States and Canada to $460,998,007, reclaiming the all-time number one spot.[227][3][228][229] Internationally, the reissue grossed $117.2 million, with $26 million from the United Kingdom and $15 million from Japan.[219] In total, the film has grossed over $775 million worldwide.[3] Adjusted for inflation, it had earned over $2.5 billion worldwide at 2011 prices,[230] which saw it ranked as the third-highest-grossing film at the time, according to Guinness World Records.[231] At the North American box office, it ranks second behind Gone with the Wind on the inflation-adjusted list.[232] Critical response What makes the Star Wars experience unique, though, is that it happens on such an innocent and often funny level. It's usually violence that draws me so deeply into a movie—violence ranging from the psychological torment of a Bergman character to the mindless crunch of a shark's jaws. Maybe movies that scare us find the most direct route to our imaginations. But there's hardly any violence at all in Star Wars (and even then it's presented as essentially bloodless swashbuckling). Instead, there's entertainment so direct and simple that all of the complications of the modern movie seem to vaporize. —Roger Ebert, in his review for the Chicago Sun-Times[233] Star Wars received critical acclaim. In his 1977 review, Roger Ebert of the Chicago Sun-Times 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".[233] Vincent Canby of The New York Times 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" and "the most elaborate, most expensive, most beautiful movie serial ever made".[234] A.D. Murphy of Variety described the film as "magnificent" and said George Lucas had succeeded in his attempt to create the "biggest possible adventure fantasy" based on the serials and older action epics from his childhood.[235] Writing for The Washington Post, Gary Arnold gave the film a positive review, writing that the film "is a new classic in a rousing movie tradition: a space swashbuckler."[236] However, the film was not without its detractors: Pauline Kael of The New Yorker criticized Star Wars, stating that "there's no breather in the picture, no lyricism", and that it had no "emotional grip".[237] John Simon of New York magazine also panned the film and wrote, "Strip Star Wars of its often striking images and its highfalutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality."[238] Stanley Kauffmann, reviewing the film in The New Republic, opined that it "was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded."[239] When Star Wars opened in the UK, stating that Lucas's earlier films were better, Derek Malcolm of The Guardian concluded that it "plays enough games to satisfy the most sophisticated".[240] The Daily Telegraph's science correspondent Adrian Berry said that Star Wars "is the best such film since 2001 and in certain respects it is one of the most exciting ever made". He described the plot as "unpretentious and pleasantly devoid of any 'message'."[241] A few critics found fault in the lack of representation of African Americans in the space fantasy, with a writer for New Journal and Guide calling it "one of the most racist movies ever produced", pointing out that "the force of evil ... is dressed in all black and has the voice of a black man".[242][h] Lucas felt hurt at the accusations.[245] The film continues to receive critical acclaim from modern critics. The film review aggregation website Rotten Tomatoes indicates a 93% approval rating based on 134 reviews with an overall rating of 8.8/10. Its consensus states in summary, "A legendarily expansive and ambitious start to the sci-fi saga, George Lucas opened our eyes to the possibilities of blockbuster filmmaking and things have never been the same."[246] Metacritic reports a weighted average score of 90 out of 100 based on 24 reviews, indicating "universal acclaim."[247] In his 1997 review of the film's 20th anniversary release, Michael Wilmington of the Chicago Tribune gave the film four out of four stars, saying, "A grandiose and violent epic with a simple and whimsical heart."[248] A San Francisco Chronicle staff member described the film as "a thrilling experience."[249] In 2001 Matt Ford of the BBC awarded the film five out of five stars and wrote, "Star Wars isn't the best film ever made, but it is universally loved."[250] CinemaScore reported that audiences for Star Wars's 1999 re-release gave the film a "A+" grade.[251] Gene Siskel, writing for the Chicago Tribune in 1977, said, "What places it a sizable cut above the routine is its spectacular visual effects, the best since Stanley Kubrick's 2001."[252][253] Andrew Collins of Empire magazine awarded the film five out of five and said, "Star Wars' timeless appeal lies in its easily identified, universal archetypes—goodies to root for, baddies to boo, a princess to be rescued and so on—and if it is most obviously dated to the 70s by the special effects, so be it."[254] In his 1977 review, Robert Hatch of The Nation called the film "an outrageously successful, what will be called a 'classic,' compilation of nonsense, largely derived but thoroughly reconditioned. I doubt that anyone will ever match it, though the imitations must already be on the drawing boards."[255] In a more critical review, Jonathan Rosenbaum of the Chicago Reader stated, "None of these characters has any depth, and they're all treated like the fanciful props and settings."[256] 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."[257] Accolades Alec Guinness received multiple award nominations, including one from the Academy, for his performance as Obi-Wan Kenobi. To date, he is the only actor to receive an Academy Award nomination for a Star Wars film. The film garnered numerous accolades after its release. Star Wars won six competitive Academy Awards at the 50th Academy Awards: Best Art Direction, Best Costume Design, Best Film Editing, Best Original Score, Best Sound and Best Visual Effects. A Special Achievement for Sound Effects Editing went to sound designer Ben Burtt[258] and a Scientific and Engineering Award went to John Dykstra for the development of the Dykstraflex Camera (shared with Alvah J. Miller and Jerry Jeffress, who were both granted for the engineering of the Electronic Motion Control System).[259] Additional nominations included Alec Guinness for Best Actor in a Supporting Role, which went to Jason Robards for Julia and George Lucas for Best Original Screenplay, Best Director, and Best Picture, which were instead awarded to Woody Allen's Annie Hall.[258] At the 35th Golden Globe Awards, the film was nominated for Best Motion Picture – Drama, Best Director, Best Supporting Actor (Alec Guinness), and it won the award for Best Score.[260] It received six British Academy Film Awards nominations: Best Film, Best Editing, Best Costume Design, Best Production/Art Design, Best Sound, and Best Score; the film won in the latter two categories.[261] John Williams's soundtrack album won the Grammy Award for Best Album of Original Score for a Motion Picture or Television Program,[262] and the film attained the Hugo Award for Best Dramatic Presentation.[263] The film also received twelve nominations at the Saturn Awards, winning nine: Best Science Fiction Film, Best Direction and Best Writing for George Lucas, Best Supporting Actor for Alec Guinness, Best Music for John Williams, Best Costume for John Mollo, Best Make-up for Rick Baker and Stuart Freeborn, Best Special Effects for John Dykstra and John Stears, and Outstanding Editing for Paul Hirsch, Marcia Lucas and Richard Chew.[264] Composer John Williams received the Academy Award, BAFTA Award, Golden Globe Award and Saturn Award for Star Wars music Filmmaker George Lucas received the directing (Academy Award, Directors Guild of America Award, Golden Globe Award, and Saturn Award) and writing (Academy Award, Saturn Award, and Writers Guild of America Award) nominations for Star Wars Organization Category Nominee Result Academy Awards Best Picture Gary Kurtz Nominated Best Director George Lucas Nominated Best Supporting Actor Alec Guinness Nominated Best Original Screenplay George Lucas Nominated Best Art Direction John Barry, Norman Reynolds, Leslie Dilley and Roger Christian Won Best Costume Design John Mollo Won Best Film Editing Paul Hirsch, Marcia Lucas and Richard Chew Won Best Original Score John Williams Won Best Sound Don MacDougall, Ray West, Bob Minkler and Derek Ball Won Best Visual Effects John Stears, John Dykstra, Richard Edlund, Grant McCune and Robert Blalack Won Special Achievement Academy Award Ben Burtt Won American Music Awards Favorite Pop/Rock Album John Williams Nominated British Academy Film Awards Best Film Gary Kurtz Nominated Best Costume Design John Mollo Nominated Best Editing Paul Hirsch, Marcia Lucas and Richard Chew Nominated Best Original Music John Williams Won Best Production Design John Barry Nominated Best Sound Sam Shaw, Robert Rutledge, Gordon Davidson, Gene Corso, Derek Ball, Don MacDougall, Bob Minkler, Ray West, Michael Minkler, Les Fresholtz, Richard Portman and Ben Burtt Won Directors Guild of America Awards Outstanding Directing – Feature Film George Lucas Nominated Golden Globe Awards Best Motion Picture – Drama Gary Kurtz Nominated Best Director George Lucas Nominated Best Supporting Actor – Motion Picture Alec Guinness Nominated Best Original Score John Williams Won Saturn Awards Best Science Fiction Film Gary Kurtz Won Best Director George Lucas Won Best Actor Harrison Ford Nominated Mark Hamill Nominated Best Actress Carrie Fisher Nominated Best Supporting Actor Alec Guinness Won Peter Cushing Nominated Best Writing George Lucas Won Best Costume Design John Mollo Won Best Make-up Rick Baker and Stuart Freeborn Won Best Music John Williams Won Best Special Effects John Dykstra and John Stears Won Best Art Direction Norman Reynolds and Leslie Dilley Won Best Cinematography Gilbert Taylor Won Best Editing Paul Hirsch, Marcia Lucas and Richard Chew Won Best Set Decoration Roger Christian Won Best Sound Ben Burtt and Don MacDougall Won Writers Guild of America Awards Best Original Screenplay George Lucas Nominated Legacy Star Wars launched the careers of many of the film's actors, including Hamill, Ford, Fisher, Mayhew, Daniels, and Jones.[5] Ford, who subsequently starred in the Indiana Jones series (1981–present), Blade Runner (1982), and Witness (1985) after working on the film, told the Daily Mirror that Star Wars "boosted my career", and said, "I think the great luck of my career is that I've made these family movies which are introduced to succeeding generations of kids by their families at the time it seems appropriate."[265] The film also spawned the Star Wars Holiday Special, which debuted on CBS on November 17, 1978 and is often considered a failure; Lucas himself disowned it.[266] The special has never been aired after its original broadcast, and it has never been officially released on home video. However, many bootleg copies exist, and the special has consequently become something of an underground legend.[267] In popular culture See also: Cultural impact of Star Wars Star Wars and its ensuing film installments have been explicitly referenced and satirized across a wide range of media. Hardware Wars, released in 1978, was one of the first fan films to parody Star Wars.[268] It received positive critical reaction, went to earn over $1 million, and is one of Lucas's favorite Star Wars spoofs.[269][270][271] Writing for The New York Times, Frank DeCaro said, "Star Wars littered pop culture of the late 1970s with a galaxy of space junk."[272] He cited Quark (a short-lived 1977 sitcom that parodies the science fiction genre)[272] and Donny & Marie (a 1970s variety show that produced a 10-minute musical adaptation of Star Wars guest starring Daniels and Mayhew)[273] as "television's two most infamous examples."[272] Mel Brooks's Spaceballs, a satirical comic science fiction parody, was released in 1987 to mixed reviews.[274] Lucas permitted Brooks to make a spoof of the film under "one incredibly big restriction: no action figures."[275] Contemporary animated comedy TV series Family Guy,[276] Robot Chicken,[277] and The Simpsons[278] have produced episodes satirizing the film series. A Nerdist article published in 2021 argues that "Star Wars is the most influential film of all time" partly on the basis that "if all copies ... suddenly vanished, we could more or less recreate the film ... using other media," including parodies.[279] Star Wars, together with Lucas, is the subject of the 2010 documentary film The People vs. George Lucas that details the issues of filmmaking and fanaticism pertaining to the film franchise and its creator.[280] Many elements of the film have also endured presence in popular culture. The iconic weapon of choice of the Jedi, the lightsaber, was voted as the most popular weapon in film history in a survey of approximately 2,000 film fans.[281] Characters such as Darth Vader, Han Solo, and Yoda have become iconic, and all three were named in the top twenty of the British Film Institute's "Best Sci-Fi Characters of All-Time" list.[282] The expressions "Evil empire" and "May the Force be with you" have become part of the popular lexicon.[283] A pun on the latter phrase has led to May 4 being regarded by many fans of the franchise as an unofficial Star Wars Day.[284] To commemorate the film's 30th anniversary in May 2007, the United States Postal Service issued a set of 15 stamps depicting the characters of the franchise. Approximately 400 mailboxes across the country were also designed to look like R2-D2.[285] Cinematic influence Ebert wrote in his book The Great Movies, "Like The Birth of a Nation and Citizen Kane, Star Wars was a technical watershed that influenced many of the movies that came after." It began a new generation of special effects and high-energy motion pictures. The film was one of the first films to link genres together to invent a new, high-concept genre for filmmakers to build upon.[92] Finally, along with Steven Spielberg's Jaws, it shifted the film industry's focus away from personal filmmaking of the 1970s and towards fast-paced, big-budget blockbusters for younger audiences.[5][286][287] Filmmakers who have said to have been influenced by Star Wars include James Cameron, J. J. Abrams, Damon Lindelof, Dean Devlin, Gareth Edwards,[288] Roland Emmerich, John Lasseter,[289] David Fincher, Peter Jackson, Joss Whedon, Christopher Nolan, Ridley Scott, John Singleton, and Kevin Smith.[92] Scott, Cameron, and Jackson were influenced by Lucas's concept of the "used future" (where vehicles and culture are obviously dated) and extended the concept for their films, such as Scott's science fiction films Alien (1979) and Blade Runner (1982), Cameron's acclaimed sequel Aliens (1986) and his earlier breakthrough film The Terminator (1984). Jackson used the concept for his production of The Lord of the Rings trilogy to add a sense of realism and believability.[92] Christopher Nolan cited Star Wars as an influence when making the 2010 blockbuster film, Inception.[290] Some critics have blamed Star Wars, as well as Jaws, for ruining Hollywood by shifting its focus from "sophisticated" films such as The Godfather, Taxi Driver, and Annie Hall to films about spectacle and juvenile fantasy.[291] On a late 1977 episode of Sneak Previews, Siskel expressed concern that, "It's so successful and so mindless fun that I hope Hollywood doesn't forget that there are people who like to see serious pictures too."[292] Another critic, Peter Biskind, later complained, "When all was said and done, Lucas and Spielberg returned the 1970s audience, grown sophisticated on a diet of European and New Hollywood films, to the simplicities of the pre-1960s Golden Age of movies... They marched backward through the looking-glass."[291][156] In an opposing view, Tom Shone wrote that through Star Wars and Jaws, Lucas and Spielberg "didn't betray cinema at all: they plugged it back into the grid, returning the medium to its roots as a carnival sideshow, a magic act, one big special effect", which was "a kind of rebirth."[287] Recognition In its May 30, 1977 issue, Time magazine named Star Wars the "Movie of the Year." The publication said it was a "big early supporter" of the vision which would become Star Wars. In an article intended for the cover of the issue, Time's Gerald Clarke wrote that Star Wars is "a grand and glorious film that may well be the smash hit of 1977, and certainly is the best movie of the year so far. The result is a remarkable confection: a subliminal history of the movies, wrapped in a riveting tale of suspense and adventure, ornamented with some of the most ingenious special effects ever contrived for film." Each of the subsequent films of the Star Wars saga has appeared on the magazine's cover.[293] AFI 100 Years... series AFI's 100 Years...100 Movies (1998) – #15[294] AFI's 100 Years...100 Thrills (2001) – #27[295] AFI's 100 Years...100 Heroes & Villains (2003): Han Solo – #14 Hero[296] Obi-Wan Kenobi – #37 Hero[296] Darth Vader - #3 Villain[296] AFI's 100 Years...100 Movie Quotes (2004): "May the Force be with you." – #8[297] AFI's 100 Years of Film Scores (2005) – #1[132] AFI's 100 Years...100 Cheers (2006) – #39[298] AFI's 100 Years...100 Movies (10th Anniversary Edition) (2007) – #13[299] AFI's 10 Top 10 (2008) – #2 Sci-Fi Film[300] American Film Institute[301] Star Wars was voted the second most popular film by Americans in a 2008 nationwide poll conducted by the market research firm, Harris Interactive.[302] Star Wars has also been featured in several high-profile audience polls: in 1997, it ranked as the 10th Greatest American Film on the Los Angeles Daily News Readers' Poll;[303] in 2002, the film and its sequel The Empire Strikes Back were voted as the greatest films ever made in Channel 4's 100 Greatest Films poll;[304] in 2011, it ranked as Best Sci-Fi Film on Best in Film: The Greatest Movies of Our Time, a primetime special aired by ABC that counted down the best films as chosen by fans, based on results of a poll conducted by ABC and People magazine; in 2014 the film placed 11th in a poll undertaken by The Hollywood Reporter, which balloted every studio, agency, publicity firm, and production house in the Hollywood region.[305] Reputable publications also have included Star Wars in their best films lists: in 2008, Empire magazine ranked Star Wars at No. 22 on its list of the "500 Greatest Movies of All Time";[306] in 2010, the film ranked among the "All-Time 100" list of the greatest films as chosen by Time magazine film critic Richard Schickel;[307] the film was also placed on a similar list created by The New York Times, "The New York Times Guide to the Best 1,000 Movies Ever Made";[308] in 2012, the film was included in Sight & Sound's prestigious decennial critics poll "Critics' Top 250 Films", ranking at 171st on the list, and in their directors poll at 224th.[309] Lucas's original screenplay was selected by the Writers Guild of America as the 68th greatest of all time.[310] In 1989, the United States Library of Congress named Star Wars among its first selections to the National Film Registry as being "culturally, historically, or aesthetically significant"; at the time, it was the most recent film to be selected and it was the only film from the 1970s to be chosen.[187] Although Lucas declined to provide the Library with a workable copy of the original film upon request (instead offering the Special Edition), a viewable scan was made of the original copyright deposit print.[188][189] In 1991, Star Wars was one of the first 25 films inducted into the Producers Guild of America's Hall of Fame for setting "an enduring standard for American entertainment."[311] The soundtrack was added to the United States National Recording Registry 15 years later (in 2004).[312] The lack of a commercially available version of the 1977 original theatrical edit of the film since early '80s VHS releases has spawned numerous restorations by disgruntled fans over the years, such as Harmy's Despecialized Edition.[313] In addition to the film's multiple awards and nominations, Star Wars has also been recognized by the American Film Institute on several of its lists. The film ranks first on 100 Years of Film Scores,[132] second on Top 10 Sci-Fi Films,[300] 15th on 100 Years...100 Movies[294] (ranked 13th on the updated 10th anniversary edition),[299] 27th on 100 Years...100 Thrills,[295] and 39th on 100 Years...100 Cheers.[298] In addition, the quote "May the Force be with you" is ranked eighth on 100 Years...100 Movie Quotes,[297] and Han Solo and Obi-Wan Kenobi are ranked as the 14th and 37th greatest heroes respectively on 100 Years...100 Heroes & Villains.[296] Merchandising Main articles: Kenner Star Wars action figures, Star Wars: From the Adventures of Luke Skywalker, and Star Wars comics Little Star Wars merchandise was available for several months after the film's debut, as only Kenner Products had accepted marketing director Charles Lippincott's licensing offers. Kenner responded to the sudden demand for toys by selling boxed vouchers in its "empty box" Christmas campaign. Television commercials told children and parents that vouchers within a "Star Wars Early Bird Certificate Package" could be redeemed for four action figures between February and June 1978.[5] Jay West of the Los Angeles Times said that the boxes in the campaign "became the most coveted empty box[es] in the history of retail."[314] In 2012, the Star Wars action figures were inducted into the National Toy Hall of Fame.[315] The novelization of the film was published as Star Wars: From the Adventures of Luke Skywalker 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. Marketing director Charles 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] Foster also wrote the sequel novel Splinter of the Mind's Eye (1978) to be adapted as a low-budget film if Star Wars was not a financial success.[316] Marvel Comics also adapted the film as the first six issues of its licensed Star Wars comic book, with the first issue sold in April 1977. Roy Thomas was the writer and Howard Chaykin was the artist of the adaptation. Like the novelization, it contained certain elements, such as the scene with Luke and Biggs, that appeared in the screenplay but not in the finished film.[127] The series was so successful that, according to Jim Shooter, it "single-handedly saved Marvel".[317] In 2013, Dark Horse Comics published a comic adaption of the original screenplay's plot.[318] Lucasfilm adapted the story for a children's book-and-record set. Released in 1979, the 24-page Star Wars read-along book was accompanied by a 33⅓ rpm 7-inch phonograph record. Each page of the book contained a cropped frame from the movie with an abridged and condensed version of the story. The record was produced by Buena Vista Records, and its content was copyrighted by Black Falcon, Ltd., a subsidiary of Lucasfilm "formed to handle the merchandising for Star Wars."[319] The Story of Star Wars was a 1977 record album presenting an abridged version of the events depicted in Star Wars, using dialogue and sound effects from the original film. The recording was produced by George Lucas and Alan Livingston, and was narrated by Roscoe Lee Browne. The script was adapted by E. Jack Kaplan and Cheryl Gard.[citation needed] An audio CD boxed set of the Star Wars radio series was released in 1993, containing the original 1981 radio drama along with the radio adaptations of the sequels, The Empire Strikes Back and Return of the Jedi.[320] Adaptations, sequels, and prequels Main articles: Star Wars franchise, The Empire Strikes Back, Return of the Jedi, Star Wars prequel trilogy, and Star Wars sequel trilogy A radio drama adaptation of the film was broadcast on the American National Public Radio network in 1981. The adaptation was written by Brian Daley and directed by John Madden, and was produced with cooperation from George Lucas, who donated the rights to NPR. Williams's music and Burtt's sound design were retained for the show, and Hamill and Daniels reprised their roles.[321] The radio drama narrative began with a version of the backstory to the film which relates Princess Leia's acquisition of the secret Death Star plans. It also 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 Vader's interrogation of Princess Leia. The radio version was originally considered to be part of the official Star Wars canon,[322][323] but has since been supplanted by revised canonical narratives.[324] Star Wars was followed by The Empire Strikes Back in 1980[325] and Return of the Jedi in 1983, which concludes the original film trilogy.[326] The Empire Strikes Back and Return of the Jedi continue the backstory of the original trilogy.[326][327] Like the previous film, The Empire Strikes Back and Return of the Jedi were a financial success and fared well with critics,[326][328] as the original trilogy is considered one of the best film trilogies in history.[329] 22 years after the release of Star Wars, Lucas wrote and directed the prequel trilogy, consisting of the films The Phantom Menace (1999), Attack of the Clones (2002), and Revenge of the Sith (2005). The films chronicle the history between Obi-Wan Kenobi and Anakin Skywalker, and the latter's fall to the dark side and transformation into Darth Vader. The prequel trilogy was financially successful, and polarized critics and fans on their release for the storylines and some new characters.[330][331][332][333][334] Following Lucas's sale of the Star Wars franchise to The Walt Disney Company in 2012, Disney developed a sequel trilogy, consisting of The Force Awakens (2015), The Last Jedi (2017), and The Rise of Skywalker (2019).[335][336][337][338][339] Original trilogy cast including Ford, Hamill, and Fisher reprised their roles, alongside new characters portrayed by Daisy Ridley, John Boyega, Adam Driver, and Oscar Isaac.[340] Standalone films and television series have also been released, exploring adventures set around the main trilogy arcs.[341][342][343][344] Notes Also reportedly considered were Kathleen Turner, Sigourney Weaver, Meryl Streep, Kim Basinger, Glenn Close, Jane Seymour, Cybill Shepherd, Jessica Lange, Geena Davis, Anjelica Huston, Sissy Spacek, and Farrah Fawcett.[18][19][20] Lucas's claims are internally inconsistent, and have been refuted by Kurtz, Kaminski,[66] and Chris Taylor.[67] Lucas sometimes admitted to have only had notes rather than complete treatments or scripts, and in 2010 confided to the showrunners of Lost that: "when Star Wars first came out, I didn't know where it was going either. The trick is to pretend you've planned the whole thing out in advance."[77] Lucas also claimed to have co-written a treatment for Indiana Jones and Willow, at the same time as drafting Star Wars.[78] The main title page for the film's script had the lines of text and graphical elements: STAR WARS; double horizontal lines; EPISODE; IV; A NEW HOPE; FROM THE; JOURNAL OF THE WHILLS; BY; GEORGE LUCAS; 12 height sequenced character images from R2-D2 to Chewbacca; REVISED FOURTH DRAFT; JANUARY 15, 1976; horizontal line; LUCASFILM LTD.; 7 [page#][165] The script, interspersed with illustrations, then spans 128 pages of the 175-page book. One account[171] places the title change at the film's re-release in July 1978. (Hearn 2005, p. 124) Some of Lucas's early script drafts bear titles such as "The Adventures of the Starkiller (Episode One): The Star Wars" (1975) or "The Adventures of Luke Starkiller as Taken from the Journal of the Whills: Saga One: Star Wars" (1976).[174][175][176] In Italian, the lightsabers are known as "spade laser" ("laser swords", which was their original name). Walt Disney Studios Home Entertainment released the other five films. In a 1978 appearance on The Tonight Show Starring Johnny Carson, scientist Carl Sagan called it "extremely unlikely" that the beings of another galaxy would look human, further stating his criticism of the ubiquitous whiteness of the humans seen in the film. He also cited the fact that Chewbacca does not receive a medal at the end as "anti-Wookiee discrimination"; this issue would become contentious among fans.[243][244] References "Star Wars". British Board of Film Classification. Archived from the original on January 27, 2016. 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Kingston, Ont.: Legacy Books Press. ISBN 978-0-9784652-3-0. Pollock, Dale (1999). Skywalking: The Life and Films of George Lucas. New York: Da Capo Press. ISBN 0-306-80904-4. Rinzler, J. W. (2007). The Making of Star Wars. New York: Ballantine Books. ISBN 978-0-345-49476-4. Taylor, Chris (2015) [2014]. How Star Wars Conquered the Universe: The Past, Present, and Future of a Multibillion Dollar Franchise. Basic Books. ISBN 978-046509751-7. Further reading Paul Duncan (2020): The Star Wars Archives. 1977–1983, Taschen GmbH; Anniversary edition, ISBN 978-3836581172 George Lucas (Alan Dean Foster), Donald F. Glut & James Kahn (2017): Star Wars: Original Trilogy (Novelizations), Arrow, ISBN 978-1784759384 Bailey, T. J. (2005). Devising a Dream: A Book of Star Wars Facts and Production Timeline. Louisville, KY: Wasteland Press. ISBN 1-933265-55-8. Blackman, W. Haden (2004). The New Essential Guide to Weapons and Technology, Revised Edition (Star Wars). New York: Del Rey. ISBN 0-345-44903-7. Steven A. Galipeau (2001). The Journey of Luke Skywalker: An Analysis of Modern Myth and Symbol, Open Court, ISBN 978-0812694321 Sansweet, Stephen (1992). Star Wars: From Concept to Screen to Collectible. San Francisco: Chronicle Books. ISBN 0-8118-0101-2. Westfahl, Gary (2000). Space and Beyond: The Frontier Theme in Science Fiction. California: Greenwood Press. ISBN 9780313308468. External links Wikibooks has a book on the topic of: Star Wars Wikiquote has quotations related to Star Wars. Wikiquote has quotations related to Star Wars (film). Wikimedia Commons has media related to: Star Wars (category) Wikimedia Commons has media related to Star Wars: Episode IV – A New Hope. Star Wars essay [1] by Matt Zoller Seitz at National Film Registry Star Wars essay [2] by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 740 & 741 Official website at StarWars.com Official website at Lucasfilm.com Star Wars at AllMovie Star Wars at the American Film Institute Catalog Star Wars, Episode IV: A New Hope (1977) at Filmsite.org Star Wars at IMDb Star Wars at the TCM Movie Database Star Wars at Rotten Tomatoes Star Wars: Episode IV A New Hope on Wookieepedia, a Star Wars wiki Star Wars vte Star Wars original trilogy Films Star Wars The Empire Strikes Back Return of the Jedi Characters Admiral Ackbar Admiral Piett Bib Fortuna Boba Fett C-3PO Chewbacca Darth Vader R2-D2 Grand Moff Tarkin Greedo Han Solo Jabba the Hutt Lando Calrissian Princess Leia Organa Luke Skywalker Nien Nunb Obi-Wan Kenobi Emperor Palpatine Wedge Antilles Wicket Yoda Novelizations Star Wars: From the Adventures of Luke Skywalker The Empire Strikes Back Return of the Jedi Related novels Splinter of the Mind's Eye Soundtracks Star Wars "Main Title" The Empire Strikes Back "The Imperial March" Return of the Jedi "Ewok Celebration" Video games Episode IV Star Wars (1983) Star Wars (1987) Star Wars (1991) Super Star Wars (1992) Star Wars Arcade (1993) Episode V The Empire Strikes Back (1982) The Empire Strikes Back (1985) The Empire Strikes Back (1992) Super Star Wars: The Empire Strikes Back (1993) Episode VI Return of the Jedi: Death Star Battle (1983) Return of the Jedi: Ewok Adventure (cancelled) Return of the Jedi (1984) Super Star Wars: Return of the Jedi (1994) vte Star Wars Films Skywalker Saga Original trilogy Star Wars (1977) The Empire Strikes Back (1980) Return of the Jedi (1983) Prequel trilogy The Phantom Menace (1999) Attack of the Clones (2002) Revenge of the Sith (2005) Sequel trilogy The Force Awakens (2015) The Last Jedi (2017) The Rise of Skywalker (2019) 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Clone Wars The Force Awakens Rogue One The Last Jedi Solo The Rise of Skywalker Other media Attractions A Galactic Spectacular Jedi Training: Trials of the Temple Star Tours The Adventures Continue Path of Jedi Galaxy's Edge Millennium Falcon – Smugglers Run Rise of the Resistance Galactic Starcruiser Hyperspace Mountain Launch Bay Star Wars Weekends Where Science Meets Imagination Star Wars Celebration In Concert Hyperspace Lounge Documentaries The Making of Star Wars SP FX: The Empire Strikes Back Classic Creatures: Return of the Jedi From Star Wars to Jedi: The Making of a Saga Empire of Dreams: The Story of the Star Wars Trilogy Science of Star Wars The Legacy Revealed Star Wars Tech Lego The Yoda Chronicles Droid Tales The Resistance Rises The Freemaker Adventures Merchandise Action figures Kenner list Hasbro Vintage Collection Transformers Pez Force Trainer Shepperton Design Studios Trading cards Vinylmation Rollinz toys Other Video games list Books reference books Star Wars Insider Comics list manga Legends characters Thrawn trilogy Shadows of the Empire Galaxies Knights of the Old Republic The Force Unleashed The Old Republic The High Republic Production George Lucas Lucasfilm Cast film television series Changes in film re-releases Han shot first Filming locations Opening crawl Art Sources and analogues comparison to Star Trek Accolades The Force Awakens Special effects of The Empire Strikes Back Duel of the Fates Cultural impact Star Wars fandom 501st Legion Rebel Legion Religion Chewbacchus Jediism Jedi census phenomenon Star Wars Day Fan websites Wookieepedia TheForce.Net Force for Change Chewbacca defense Yoda conditions Death Star (business) Strategic Defense Initiative List of organisms named after the Star Wars series Robot Chicken: Star Wars The Family Guy Trilogy "The Saga Begins" Space Janitors The Force Awakens from Its Nap Category Film portal vte George Lucas Filmography Bibliography Awards and nominations Films directed Feature THX 1138 (1971, also story and co-screenplay) American Graffiti (1973, also co-screenplay) Star Wars (1977, also screenplay) Star Wars: Episode I – The Phantom Menace (1999, also screenplay) Star Wars: Episode II – Attack of the Clones (2002, also story and co-screenplay) Star Wars: Episode III – Revenge of the Sith (2005, also screenplay) Short Look at Life (1965) Herbie (1966) Freiheit (1966) 1:42.08 (1966, documentary; also screenplay) Anyone Lived in a Pretty How Town (1967, also co-screenplay) The Emperor (1967, documentary; also co-screenplay) Electronic Labyrinth: THX 1138 4EB (1967, also screenplay) 6-18-67 (1967, documentary) Filmmaker (1968, documentary; also screenplay) Films written Feature The Empire Strikes Back (1980, story) Raiders of the Lost Ark (1981, сo-story) Return of the Jedi (1983, story and co-screenplay) Indiana Jones and the Temple of Doom (1984, story) Willow (1988, story) Indiana Jones and the Last Crusade (1989, co-story) Radioland Murders (1994, story) Indiana Jones and the Kingdom of the Crystal Skull (2008, co-story) Strange Magic (2015, story) Other The Ewok Adventure (1984, TV film; story) Ewoks: The Battle for Endor (1985, TV film; story) Captain EO (1986, short attraction; co-screenplay) TV series created The Young Indiana Jones Chronicles (1992–96 / 1999–01; also stories) Star Wars: The Clone Wars (2008–14; 2020) Star Wars Detours (unaired) Books written Star Wars: From the Adventures of Luke Skywalker (1976, credit only) Shadow Moon (1995, co-author) Shadow Dawn (1996, story) Shadow Star (2000, story) Franchises created Star Wars (1977–present) Indiana Jones (1981–present) Willow (1988–present) American Graffiti (1973–1979) Related Bald: The Making of THX 1138 American Zoetrope Lucasfilm ILM LucasArts Lucasfilm Animation Skywalker Sound Pixar Skywalker Ranch The Star Wars Corporation THX Edutopia vte Lucasfilm Productions Films American Graffiti (1973) Star Wars (1977) More American Graffiti (1979) The Empire Strikes Back (1980) Raiders of the Lost Ark (1981) Return of the Jedi (1983) Twice Upon a Time (1983) Indiana Jones and the Temple of Doom (1984) Latino (1985) Mishima: A Life in Four Chapters (1985) Labyrinth (1986) Howard the Duck (1986) Tucker: The Man and His Dream (1988) Willow (1988) The Land Before Time (1988) Indiana Jones and the Last Crusade (1989) Radioland Murders (1994) Star Wars: Episode I – The Phantom Menace (1999) Star Wars: Episode II – Attack of the Clones (2002) Star Wars: Episode III – Revenge of the Sith (2005) Indiana Jones and the Kingdom of the Crystal Skull (2008) Star Wars: The Clone Wars (2008) Red Tails (2012) Strange Magic (2015) Star Wars: The Force Awakens (2015) Rogue One (2016) Star Wars: The Last Jedi (2017) Solo (2018) Star Wars: The Rise of Skywalker (2019) Untitled fifth Indiana Jones film (2023) Unproduced Star Wars: Duel of the Fates TV series Star Wars: Droids (1985–86) Ewoks (1985–86) Maniac Mansion (1990–93) The Young Indiana Jones Chronicles (1992–96) Star Wars: Clone Wars (2003–05) Star Wars: The Clone Wars (2008–20) Star Wars Rebels (2014–18) Lego Star Wars: The Freemaker Adventures (2016–17) Star Wars Resistance (2018–20) The Mandalorian (2019–present) Star Wars: The Bad Batch (2021–present) Star Wars: Visions (2021) The Book of Boba Fett (2021–2022) Obi-Wan Kenobi (2022) Andor (2022) Tales of the Jedi (2022) Willow (2022) Ahsoka (2023) Unaired Star Wars Detours TV films Caravan of Courage: An Ewok Adventure (1984) Ewoks: The Battle for Endor (1985) Theme park films Captain EO (1986) Star Tours (1987) ExtraTERRORestrial Alien Encounter (1995) Star Tours – The Adventures Continue (2011) Franchises Star Wars Indiana Jones Related productions THX 1138 (1971) Related works The Seventh Tower (2000−01) Divisions Industrial Light & Magic Skywalker Sound Lucasfilm Animation Lucasfilm Games Former divisions The Droid Works EditDroid SoundDroid Kerner Optical Pixar THX People George Lucas (Founder) Kathleen Kennedy (President) Howard Roffman (EVP, Franchise Management) Parent: Walt Disney Studios (The Walt Disney Company) (since 2012) Awards for Star Wars vte Hugo Award for Best Dramatic Presentation 1950s 1958: The Incredible Shrinking Man 1960s 1960: The Twilight Zone 1961: The Twilight Zone 1962: The Twilight Zone 1965: Dr. Strangelove 1967: Star Trek – "The Menagerie" 1968: Star Trek – "The City on the Edge of Forever" 1969: 2001: A Space Odyssey 1970s 1970: News coverage of Apollo 11 1972: A Clockwork Orange 1973: Slaughterhouse-Five 1974: Sleeper 1975: Young Frankenstein 1976: A Boy and His Dog 1978: Star Wars 1979: Superman 1980s 1980: Alien 1981: The Empire Strikes Back 1982: Raiders of the Lost Ark 1983: Blade Runner 1984: Return of the Jedi 1985: 2010: The Year We Make Contact 1986: Back to the Future 1987: Aliens 1988: The Princess Bride 1989: Who Framed Roger Rabbit 1990s 1990: Indiana Jones and the Last Crusade 1991: Edward Scissorhands 1992: Terminator 2: Judgment Day 1993: Star Trek: The Next Generation – "The Inner Light" 1994: Jurassic Park 1995: Star Trek: The Next Generation – "All Good Things..." 1996: Babylon 5 – "The Coming of Shadows" 1997: Babylon 5 – "Severed Dreams" 1998: Contact 1999: The Truman Show 2000s 2000: Galaxy Quest 2001: Crouching Tiger, Hidden Dragon 2002: The Lord of the Rings: The Fellowship of the Ring vte Los Angeles Film Critics Association Award for Best Film Dog Day Afternoon / One Flew Over the Cuckoo's Nest (1975) Network / Rocky (1976) Star Wars (1977) Coming Home (1978) Kramer vs. Kramer (1979) Raging Bull (1980) Atlantic City (1981) E.T. the Extra-Terrestrial (1982) Terms of Endearment (1983) Amadeus (1984) Brazil (1985) Hannah and Her Sisters (1986) Hope and Glory (1987) Little Dorrit (1988) Do the Right Thing (1989) Goodfellas (1990) Bugsy (1991) Unforgiven (1992) Schindler's List (1993) Pulp Fiction (1994) Leaving Las Vegas (1995) Secrets & Lies (1996) L.A. Confidential (1997) Saving Private Ryan (1998) The Insider (1999) Crouching Tiger, Hidden Dragon (2000) In the Bedroom (2001) About Schmidt (2002) American Splendor (2003) Sideways (2004) Brokeback Mountain (2005) Letters from Iwo Jima (2006) There Will Be Blood (2007) WALL-E (2008) The Hurt Locker (2009) The Social Network (2010) The Descendants (2011) Amour (2012) Gravity / Her (2013) Boyhood (2014) Spotlight (2015) Moonlight (2016) Call Me by Your Name (2017) Roma (2018) Parasite (2019) Small Axe (2020) Drive My Car (2021) vte Nebula Award for Best Script/Ray Bradbury Award Nebula Award for Best Script Soylent Green – Stanley R. Greenberg (1973) Sleeper – Woody Allen (1974) Young Frankenstein – Mel Brooks and Gene Wilder (1975) Star Wars – George Lucas (1977) The Sixth Sense – M. Night Shyamalan (1999) Galaxy Quest – David Howard and Robert Gordon (2000) Crouching Tiger, Hidden Dragon – James Schamus, Kuo Jung Tsai, and Hui-Ling Wang (2001) The Lord of the Rings: The Fellowship of the Ring – Fran Walsh, Philippa Boyens, and Peter Jackson (2002) The Lord of the Rings: The Two Towers – Fran Walsh, Philippa Boyens, Stephen Sinclair, and Peter Jackson (2003) The Lord of the Rings: The Return of the King – Fran Walsh, Philippa Boyens, and Peter Jackson (2004) Serenity – Joss Whedon (2005) Howl's Moving Castle – Hayao Miyazaki, Cindy Davis Hewitt, and Donald H. Hewitt (2006) Pan's Labyrinth – Guillermo del Toro (2007) WALL-E – Andrew Stanton, Jim Reardon, and Pete Docter (2008) Ray Bradbury Award for Outstanding Dramatic Presentation Terminator 2: Judgment Day – James Cameron (1992) Babylon 5 – J. Michael Straczynski (1999) 2000X – Tales of the Next Millennia – Yuri Rasovsky and Harlan Ellison (2001) Joss Whedon (2008) District 9 – Neill Blomkamp and Terri Tatchell (2009) Inception – Christopher Nolan (2010) Doctor Who: "The Doctor's Wife" – Richard Clark and Neil Gaiman (2011) Beasts of the Southern Wild – Benh Zeitlin and Lucy Alibar (2012) Gravity – Alfonso Cuarón and Jonás Cuarón (2013) Guardians of the Galaxy – James Gunn and Nicole Perlman (2014) Mad Max: Fury Road – George Miller, Brendan McCarthy, and Nico Lathouris (2015) Arrival – Denis Villeneuve and Eric Heisserer (2016) Get Out – Jordan Peele (2017) Spider-Man: Into the Spider-Verse – Phil Lord and Rodney Rothman (2018) Good Omens: "Hard Times" – Neil Gaiman (2019) The Good Place: "Whenever You're Ready" – Michael Schur (2020) WandaVision – Jac Schaeffer and writing staff (2021) vte Saturn Award for Best Science Fiction Film 1970s Slaughterhouse-Five (1972) Soylent Green (1973) Rollerball (1974/1975) Logan's Run (1976) Star Wars (1977) Superman (1978) Alien (1979) 1980s The Empire Strikes Back (1980) Superman II (1981) E.T. the Extra-Terrestrial (1982) Return of the Jedi (1983) The Terminator (1984) Back to the Future (1985) Aliens (1986) RoboCop (1987) Alien Nation (1988) 1990s Total Recall (1989/1990) Terminator 2: Judgment Day (1991) Star Trek VI: The Undiscovered Country (1992) Jurassic Park (1993) Stargate (1994) 12 Monkeys (1995) Independence Day (1996) Men in Black (1997) Armageddon/Dark City (1998) The Matrix (1999) 2000s X-Men (2000) A.I. Artificial Intelligence (2001) Minority Report (2002) X2: X-Men United (2003) Eternal Sunshine of the Spotless Mind (2004) Star Wars: Episode III – Revenge of the Sith (2005) Children of Men (2006) Cloverfield (2007) Iron Man (2008) Avatar (2009) 2010s Inception (2010) Rise of the Planet of the Apes (2011) The Avengers (2012) Gravity (2013) Interstellar (2014) Star Wars: The Force Awakens (2015) Rogue One: A Star Wars Story (2016) Blade Runner 2049 (2017) Ready Player One (2018/2019) Star Wars: The Rise of Skywalker (2019/2020) Authority control Edit this at Wikidata General VIAF 1 WorldCat (via VIAF) National libraries Norway Spain France (data) Catalonia Germany Israel United States Japan Other SUDOC (France) 1 Portals: iconSpeculative fiction Film flagUnited States iconScience Fiction Categories: 1977 filmsEnglish-language filmsStar Wars (film)1970s science fiction action films1977 science fiction filmsScience fantasy filmsSpace opera films20th Century Fox filmsAmerican filmsBAFTA winners (films)Cyborg filmsFilms about twinsFilms directed by George LucasFilms produced by Gary KurtzFilms scored by John WilliamsFilms shot at Shepperton StudiosFilms shot in CaliforniaFilms shot in EnglandFilms shot in GuatemalaFilms shot in TunisiaFilms set in desertsFilms that won the Best Costume Design Academy AwardFilms that won the Best Original Score Academy AwardFilms that won the Best Sound Editing Academy AwardFilms that won the Best Sound Mixing Academy AwardFilms that won the Best Visual Effects Academy AwardFilms using stop-motion animationFilms whose art director won the Best Art Direction Academy AwardFilms whose editor won the Best Film Editing Academy AwardFilms with screenplays by George LucasHugo Award for Best Dramatic Presentation winning worksLucasfilm filmsNebula Award for Best Script-winning worksRebellions in fictionScience fiction adventure filmsStar Wars Skywalker Saga filmsUnited States National Film Registry filmsFilms shot at EMI-Elstree Studios

• Condition: New
• Brand: Star Wars
• Convention/Event: Star Wars Celebration
• Series: Clone Wars
• Type: Ornament
• Character: Darth Vader
• Year: 1977
• Film: IV:Star Wars
• Signed: No
• Genre: Science Fiction
• Franchise: Star Wars
• Country/Region of Manufacture: United Kingdom
• Vintage: Yes

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