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Long before production began in the summer of 1997, two teams hunkered down to realize Lucas' vision. One was the art department, led by Doug Chiang. He and his crew cranked out some 3,000 drawings of planets, cities, swamps, creatures, racing pods, new mechanical versions of storm troopers (Lucas...

Author: /time Magazine | Title: Cinema: Ready, Set, Glow! | 4/26/1999 | See Source »

The other crew assembled "animatics": rough computer designs of the script's scenes using stick figures, artwork, bits of film. "We previsualize the movie," says animatician David Paul Dozoretz, who was in charge of the digital whiz kids. "We're Lucas' toy box. We do lots of experimentation." Thanks to...

Author: /time Magazine | Title: Cinema: Ready, Set, Glow! | 4/26/1999 | See Source »

Iain McCaig, a children's book illustrator, "conceptualized" the costumes--and some of the creatures inside them. For Darth Maul, the dark-side warrior who battles Qui-Gon with a prototype double-edged light saber, Lucas asked McCaig to draw his childhood nightmare come true. The artist drew one so...

Author: /time Magazine | Title: Cinema: Ready, Set, Glow! | 4/26/1999 | See Source »

McCaig admits he tried "to get Lucas in trouble over the hair" by designing coiffures every bit as grotty as Princess Leia's bagel buns. One of Amidala's dos looks like a fan belt, another like huge shoulder pads. He designed Amidala's raiment to be elaborate too. "George...

Author: /time Magazine | Title: Cinema: Ready, Set, Glow! | 4/26/1999 | See Source »

To Alfred Hitchcock, actors were cattle. To Lucas, actors are pixels--visual elements whose performances can be refined in computerized postproduction. For a certain scene, Lucas liked Take 4 of one actor, Take 6 of the other; he patched the two together and digitally fixed the middle. "Most directors wouldn...

Author: /time Magazine | Title: Cinema: Ready, Set, Glow! | 4/26/1999 | See Source »

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