Word: graffitiing
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SEEKING DIVORCE. George Lucas, 39, movie mogul who is the Force behind Star Wars, The Empire Strikes Back and the new supergrossing ($100 million in the first three weeks) Return of the Jedi; and Marcia Lucas, 38, film editor (Taxi Driver, American Graffiti) who won an Academy Award for her work on Star Wars and also cut parts of Jedi; after 14 years of marriage, one adopted daughter, Amanda, 2, whose custody they will share; in San Anselmo, Calif...
...shares with his friend Steven Spielberg (E.T.) the title "Mr. Blockbuster." Besides Star Wars and The Empire Strikes Back, which rank No. 2 and No. 3 in receipts, he drew up the plot of and produced No. 5, Raiders of the Lost Ark. In addition, an earlier film, American Graffiti (1973), loosely modeled on his own adolescence in Modesto, Calif., ranks as one of the most profitable films in Hollywood history. It cost Universal Pictures only $780,000 to produce, but it has already returned $145 million worldwide...
...expression than weariness or worry. There is a fundamental, existential malaise, and as he describes it, the telling of the Star Wars saga has taken a terrible toll on him. "The sacrifice I've made for Star Wars may have been greater than I wanted," he says. "After Graffiti, Star Wars could have gone in the toilet and it wouldn't have mattered financially. It's an interesting choice I made, and now I'm burned out. In fact, I was burned out a couple of years ago, and I've been going on momentum...
...Lucas worked as an assistant to Francis Coppola, who was directing Finian's Rainbow. Coppola, who remains a friend, later helped him find backing for his feature, THX 1138 (1971), a chilling look at a futuristic world in which people live underground and numbers have replaced names. American Graffiti came next. Its success persuaded 20th Century-Fox to invest money in Lucas' strange script about chirping robots, Jedi knights and a form of hocus-pocus called the Force...
...costumes, and even the acting techniques reflect this odd mixture of creative genius and worn-out cliche. The set itself is a three ring circus, a blaze of colors and graffiti. On one impressive wall a black-on-white silhouette of what appear to be jazz musicians and dancers on a ghetto street, the figures appear to laugh and then howl in anguish as the light changes. But another wall, a mural of floating patio furniture and suburban houses, is more than a bit obvious--it suggests a rip-off of the Rolling Stones' "Still Life" album cover. A third...