Welcome to a look Inside The Holocron. A collection of articles from the archives of *starwars.com that are no longer directly available.
(*Archived here with Permission)
The Magic of Myth
The look of Star Wars – its costumes, props, and sets – reflects the same eclectic mix of cultural, historical, and mythical sources that gives the story its rich texture. Working with concept artists Ralph McQuarrie, visual effects art director Joe Johnston, and costume designers John Mollo, Nilo Rodis-Jamero, and Aggie Guerand Rodgers, as well as a team of other artists and craftspeople, George Lucas created a universe that has the look and feel of myth.
The Feel of the Past
To ensure that Star Wars has the look and feel of “a long time ago,” Lucas asked production crews to rub dirt on the shiny new hardware and sets so that they would have a used, lived-in look. He also placed the action in ancient temples, such as the Rebel headquarters at the close of the first film.
The uniforms and weapons, as we will see, were often based on those from some past era. For example, when John Mollo needed to create a mock-up for Darth Vader from the costume stock held at a costume warehouse in England, he grabbed a Roman helmet from the “military room,” a plague mask from the “medieval room,” and a monk’s robes from the “religious room.”
Similarly, some of the historical items that actually appear in Star Wars seem to have been pulled from the racks of the costume warehouse for their sheer visual effect. When the droids arrive at the Lars homestead, one of the Jawas is wearing a collar of charges nicknamed “the twelve Apostles.” Dating from about 1645 in England, this bandolier held a matchlock musketeer’s personal supply of ammunition.
The Tusken Raider who knocks Luke down in the Jundland Wastes uses a totokia, an ancient Fijian war club of the “pineapple type,” so called because of the decorative head with its distinctive point.
The design of Lando’s skiff guard weapon is based on a lochaber, a form of pole arm used by Scottish troops from the fifteenth through the eighteenth centuries.
Whether or not the viewer actually recognizes any of these specific items, these elements combine to create a subconscious sense of a time long past.
To ensure that Star Wars has the look and feel of “a long time ago,” Lucas asked production crews to rub dirt on the shiny new hardware and sets so that they would have a used, lived-in look. He also placed the action in ancient temples, such as the Rebel headquarters at the close of the first film.
On the jungled fourth moon of Yavin, Rebel troops hid their secret base within the depths of a vast ancient temple. Artist Ralph McQuarrie felt that this Aztec-like ruin might be made of large, unthinkably dense stones with the property of minimizing gravity. The lights of small fighter spacecraft are visible deep within the structure.
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