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Star Wars: Episode VII - The Force Awakens (original title) . John Boyega at an event for Star Wars: The Force Awakens () Oscar Isaac in Star Wars: The Force Awakens . Ten years after initially meeting, Anakin Skywalker shares a forbidden romance with Padmé Amidala, while . Cast overview, first billed only. The cast of 'Star Wars: The Force Awakens' is a mix of the new and the familiar, with actors from past films brushing shoulders with a bunch of newbies. With the. The "Star Wars" franchise -- now 40 years young -- is full of secret cameos, soon- to-be-famous actors in small bit parts, and well-known faces.
We had people flying drones over Pinewood studios trying to take photographs. If a prop was being moved we had to have them covered in a big black sheet.
We were told in an email to be [wary] of drones. It feels like there is sort of that gravity pulling us back toward it. I think that more and more people are hitting kind of a critical mass in terms of the CG-driven action scene lending itself to a very specific type of action scene, where physics go out the window and it becomes so big so quick.
ILM's Vancouver branch also worked on the special effects for the film. The Force Awakens soundtrack It's all a continuation of an initial set of ideas. It's a bit like adding paragraphs to a letter that's been going on for a number of years. Starting with a completely new film, a story that I don't know, characters that I haven't met, my whole approach to writing music is completely different—trying to find an identity, trying to find melodic identifications if that's needed for the characters, and so on.
All three approached directors told Lucas that he should direct the film, as they each found the project "too daunting.
McCallum stated that his experience with The Young Indiana Jones Chronicles led to many of his decisions on The Phantom Menace, such as long-term deals with actors and soundstages, the employment of recent graduates with no film experience, and the creation of sets and landscapes with digital technology.
In AprilMcCallum started searching for artists in art, architecture and design schools, and in mid-year he began location scouting with production designer Gavin Bocquet. With the exception of the Gungan city, which had an art nouveau -inspired visual, these locations would be given distinctive looks with some basis in the real world. The concept drawings of Ralph McQuarrie for the original trilogy served as the basis for Mos Espa—which was also inspired by old Tunisian hotels and buildings and had touches such as a market place to differentiate it from A New Hope's Mos Eisley—and Coruscant, in particular a metropolis design which became the basis for the Senate.
Chiang uses that orientation to base the droids on the Imperial soldiers, only in the same style of stylized and elongated features seen in tribal African art. Many of the aliens are hybrids, combining features of real animals.
At times entire food chains were developed even though only a small percentage of them would appear in the film.
Whitlatch also designed detailed skeletons for the major characters and facial muscles on Jar Jar Binks as a reference for ILM's animators. Each creature would reflect its environment; those on Naboo were more beautiful because the planet is "lush and more animal-friendly", Tatooine has rough-looking creatures "with weather-beaten leathery skin to protect them from the harsh desert elements", and Coruscant has bipedal, human-looking aliens.
Lucas wanted the lightsaber battles to be fast and more intense, depicting the Jedi in their prime. This scene was highly praised by critics and audiences. Stunt coordinator Nick Gillard was recruited to create a new Jedi fighting style for the prequel trilogy.
Gillard likened the lightsaber battles to a chess game "with every move being a check ". Because of their short-range weapons, Gillard thought the Jedi would have had to develop a fighting style that merged every swordfighting style, such as kendo and other kenjutsu styles, with other swinging techniques, such as tennis swings and tree-chopping.
Star Wars: Episode VII - The Force Awakens Cast - IMDb
While training Liam Neeson and Ewan McGregor, Gillard wrote a sequence which lasted around 60 seconds and intended to be around five or six sequences per fight. The preference of hand-to-hand combat was intended to give a spiritual and intellectual role to the Jedi. Designer Trisha Biggar and her team created over 1, costumes that were inspired by various cultures. Tatooine followed A New Hope with sun-bleached sand colors, Coruscant had grays, browns and blacks, and Naboo had green and gold for humans while Gungans wore "a leathery look, like their skin".
The Jedi costumes followed the tradition from the original film;  Obi-Wan's costume was inspired by the costume that was worn by Guinness. Lucas said he and Biggar would look at the conceptual art to "translat[e] all of these designs into cloth and fabric and materials that would actually work and not look silly".
Biggar also consulted Gillard to ensure the costumes would accommodate action scenes, and consulted the creature department to find which fabrics "wouldn't wear too heavily" on the alien skins. A huge wardrobe department was set up at Leavesden Film Studios to create over costumes for the main actors and 5, for the background ones. Jackson expressed interest in appearing in a Star Wars film, he was approached by casting director Robin Gurland to play Windu.
Lucas and McCallum were so impressed with the test tape that they gave Park the role of Maul. His voice was considered "too squeaky" and was dubbed over in post-production by Peter Serafinowicz. Hugh Quarshie considered the part of Panaka as "a good career move" and a production that would be fun to make.
As she prepared the script for her directorial debut The Virgin SuicidesSofia heard Lucas would make a new Star Wars film and asked him if she could accompany him during filming. Lucas offered Coppola a role in the royal entourage, which she accepted because it "seemed like a good vantage point to watch without getting in the way".
Star Wars: Episode VII - The Force Awakens Cast
Filming began on June 26,and ended on September 30 of that year, primarily taking place at Leavesden Film Studios in England. Leavesden was leased for a two and a half year period so the production company could leave the sets intact and return after principal photography had been completed. On the night following the third day of shooting in Tozeur, an unexpected sandstorm destroyed many of the sets and props.
The production was quickly rescheduled to allow for repairs and was able to leave Tunisia on the date originally planned. Scenes with explosions were filmed on replica sets in Leavesden. A binder with the film's storyboards served as a reference for live-action filming, shots that would be filmed in front of a chroma key blue screen, and shots that would be composed using CGI.
The sets were often built with the parts that would be required on screen; often they were built only up to the heights of the actors. Chroma key was extensively used for digital set extensions, backgrounds or scenes that required cinematographer David Tattersall to seek powerful lamps to light the sets and visual effects supervisor John Knoll to develop software that would remove the blue reflection from shiny floors.
Knoll, who remained on set through most of the production, worked closely with Tatterstall to ensure that the shots were suitable to add effects later. The cameras were fitted with data capture models to provide technical data for the CGI artists.
Star Wars: Episode VII - The Force Awakens Cast and Crew
Some scenes, mostly of elements filmed by the special effects team, were shot on high definition, digital video tapes to test the performance of digital recordings, which Lucas and McCallum considered the next logical step because of the amount of digitizing—an expensive process compared to recording directly on digital media—for the compositing of computer-generated effects.
All future films would be shot using Sony CineAlta high-definition video cameras. The visual effects crew did not like the original results and crafted Fode and Beed as an entirely computer generated alien. Ben Burtt —who was also the film's sound editor —was responsible for action sequences under Lucas' supervision.
Non-linear editing systems played a large part in translating Lucas' vision; he constantly tweaked, revised and reworked shots and scenes. The final sound mix was added in March and the following month the film was completed after the delivery of the remaining visual effects shots.
You can't write one of these movies without knowing how you're going to accomplish it. About 1, of the shots in The Phantom Menace have visual effects. The scene in which toxic gas is released on the Jedi is the only sequence with no digital alteration. Knoll previewed 3, storyboards for the film; Lucas accompanied him to explain factors of the shots that would be practical and those which would be created through visual effects.
Knoll later said that on hearing the explanations of the storyboards, he did not know how to accomplish what he had seen. The result was a mixture of original techniques and the newest digital techniques to make it difficult for the viewer to guess which technique was being used.
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Lucas will remain involved as a creative consultant, with Kennedy serving as executive producer. Lucas has written the story treatments for each of the three upcoming films.
According to Kennedy, the development team is currently in the process of sitting down with writers to discuss story ideas.
Return of the Jedi in the Star Wars canon.The Cast of Star Wars on Getting Their Roles
He's an ideal choice to direct the new Star Wars film and the legacy couldn't be in better hands. News outlets first reported Arndt's involvement on November 8announcing that, according to insiders, Arndt has already turned in a forty-to-fifty-page story treatment that will reportedly bring the Skywalker family saga to a close in a new trilogy.
Reports first announced on January 24, that J.
According to reports, Lawrence Kasdan and Simon Kinberg will co-produce all three films of the upcoming sequel trilogy. Kasdan originally wrote the screenplays for both Star Wars Episode V: Return of the Jedi. Jackson have all been reported to be interested in returning for the new films, though most actors have yet to be confirmed by Lucasfilm sources.
During a concert with the Young Musician's Foundation Debut Orchestra on February 9composer John Williams stated that he was hoping to get the chance to write the musical scores for the entire new trilogy.