Temuera Morrison regrets not having had his hair cut for Attack of the Clones

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From au.StarWars.com;

“[au.StarWars.com:] YOU WEAR A PRETTY ICONIC COSTUME IN [ATTACK OF THE CLONES] – THE MANDALORIAN ARMOUR. DID YOU GET FITTED UP FOR THAT?

[Temuera Morrison:] They got me in and fitted me up, put all that stuff on it, looked at it, and I was just going along with the flow. I liked how I looked, but if I could go back I would’ve taken my hair back a little bit more, added a few more scars, hardened him up a bit. My hair was still too long. The problem was I was doing a television movie, Ihaka: Blunt Instrument, working with Rebecca Gibney in Sydney, so I had to keep my hair like that because there were still some scenes to finish off on the show, and that annoyed me because I really needed to do something. […]

IS IT DIFFICULT TO SEE OUT OF THE JANGO FETT HELMET?

You couldn’t see anything! I remember filming with that mask on, one of the first days in the studio, standing there with no guns, just my fingers pointed out. I thought they could’ve got me some toy guns, but I didn’t even have that, would you believe! I’m standing there right, and can’t see or hear anything because I was fogged up from my breathing, and I’m the idiot standing there doing nothing while they’re yelling out “Action!” Probably three or four times, then I see someone waving and I thought “Yes, I am the idiot.” [laughs] But then you start getting into it and moving about.

HOW WAS GEORGE LUCAS LIKE TO WORK WITH?

George was very nice, very cordial, very nice, very relaxed. He was wonderful. [The movie’s] just big though, hey. You just gotta settle in quick, that’s the challenge. Because when you get there you’re quite in awe. Walking into those Star Wars scenes on your first day, you really feel the enormity of it so you’ve got to work on relaxing – especially working with people like Ewan [McGregor, Obi-Wan Kenobi] who’d already done a bit of Star Wars stuff before me – they were all relaxed.

HOW WAS IT WORKING OPPOSITE EWAN MCGREGOR?

Fantastic, yeah. He was very calm, but he was playing a Jedi, so he wasn’t doing much. Jedi don’t do much – they just keep still under that cape and move their eyebrows every now and then if you’re lucky – get some eyebrow acting in [laughs].”

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Temuera Morrison would be ‘very happy’ to play Clone Captain Rex

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From au.StarWars.com:

“[au.StarWars.com:] IT MUST BE PRETTY COOL TO THINK, “I PLAYED BOBA FETT’S DAD”. PLUS YOUR VOICE GETS TO LIVE ON AS BOBA FETT, AND YOUR FACE WAS USED FOR ALL OF THE CLONES!

[Temuera Morrison:] They’re all in my Jango Fett line – I have clones lining up. Then, of course, there’s Captain Rex, who’s an iconic character. I’ve also voiced various games. What’ll make me really happy is if I get the phone call asking me to play another character – an older Captain Rex or something. I want to pop in on one of these new ones, that would be great. Suggest it to them for me! Let’s get on to it!”

 

Psychotherapist praises the ‘realistic’ romance between Padmé and Anakin

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From Time Out:

“We all know that relationships are hard work in real-life and that love is nothing like the movies. But which screen romances are the worst offenders? And can falling for their charms really do any harm? We asked a team of psychologists, therapists and dating coaches which movies have the most unhealthy attitudes to love. […]

A few [romantic movies] the experts like: […]

Star Wars: Episode III – Revenge of the Sith

‘If you want to look on the dark side, nothing demonstrates a dysfunctional relationship better than Padmé Amidala and Anakin Skywalker. It didn’t end happily, but it is realistic. She was older, he was younger and infatuated. Even if you forget the age difference, there were so many signs that the relationship was toxic. A good relationship is based on communication, shared values and respect. They failed to communicate effectively. Rather than dealing with it, problems were ignored.’

Gurpreet Singh [Relate counsellor and psychotherapist]”

The Last Jedi director was impressed by the theory that Snoke is Anakin’s pear

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From Comicbook.com:

“Recently, Yahoo! had a chance to chat with director Rian Johnson and John Boyega about their favorite Snoke theories. When Johnson was questioned about his go-to conspiracy, the director quickly admitted that his favorite Snoke take comes from one fruit-obsessed fan.

“Somebody – I think this is more of a joke than a theory. I don’t know who it was. They had a theory on who Snoke was. In Attack on the Clones, when Anakin is slicing the pear for Padme before he floats it over to her, they took a freeze frame of that and then put it side-by-side with the slice in Snoke’s head,” Johnson explained.

“They said he is the evolution of that pear, and I was like, ‘That’s pretty good. I wish I had thought of that.’””

You can watch the video at Yahoo!.

Portman and McGregor were reportedly “wounded” by Episodes I and II reviews (UPDATE : or maybe not)

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From J. W. Rinzler Blog:

”   […] Back on set, whenever George asked Jimmy Smits (Bail Organa) to modify his performance or alter an action, Smits would reply, “Yes, sir.” Often when George asked Christensen or McGregor, they would reply, “Yeah, yeah, yeah.”
They weren’t disrespectful, but they weren’t necessarily buying it either. They were going along with it.
Back on the Original Trilogy, Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), and Carrie Fisher (Princess Leia) had understood instinctively where Lucas was coming from, though he was famously uncommunicative. It was nothing personal. As many know, “Faster” and/or “More intense,” was what Lucas often requested of his actors.
Part of his general reticence on any set was due to the fact that he simply didn’t want to be there. Lucas had told Roger Christian back in 1976, set decorator on Star Wars, that each day he woke up with a metaphorical sack of large stones on his back and spent the day struggling to remove them, painfully, one by one. On set for Episode III, I overheard George asking himself one morning, “Why am I putting myself through this again?”
In 1978, three crewmembers got into a post-film analysis of their ex-boss, concluding that he took too much on himself and stressed himself out unnecessarily. They also thought he often put his trust in the wrong people. I’ve read similar complaints about similar visionaries. Evidently, when you’re hounded by success, it often becomes difficult to tell who has your best interests at heart, particularly given that many folks may have already told you things that didn’t turn out to be true, or said that something wouldn’t work that did turn out to work, and vice versa, etc., etc. It’s a difficult position to be in.
Despite his directorial shorthand and his on-set suffering, Lucas, Ford, Fisher, and Hamill worked well together on the Original Trilogy and remained friends afterward. Lucas seemed particularly close with Fisher.
It didn’t help that Portman and McGregor had been wounded by negative reviews of the first two prequels, making this last one harder for them. In fact when I was given the greenlight to talk to McGregor on set, I went over to introduce myself and before I’d said two words, he shouted in a loud and annoyed voice, “Well, I’ll just let you know then!”
It was a tad awkward. Crew would tell me that on Episode I McGregor had been enthusiastic and kind, helping to move chairs for the next setup. But he’d changed. Rick told me that the actor was frustrated, and on an “emotional rollercoaster.”
He and Portman were never ready to be interviewed (instead I relied on EPKs). […]”


UPDATE!

J. W. Rinzler altered his article, which now says: “It didn’t help that Portman and McGregor may have been wounded by negative reviews of the first two prequels, making this last one harder for them.”

He removed the anecdotes about McGregor’s behavior, and softened another part where he describes Christensen expressing his lack of understanding of Lucas’ vision of Anakin at one point.


J. W. Rinzler used to be a writer and editor at Lucas Licensing. He wrote The Making of Star Wars Revenge of the SithThe Art of Star Wars Episode III: Revenge of the Sith,  and many other behind-the-scenes books.

J. W. Rinzler says Attack of the Clones was one of the last productions where ILM ideas were “free to flow”

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From J. W. Rinzler Blog:

“My behind-the-scenes work included going down to Industrial Lights & Magic for the visual effects dailies, on Tuesdays and Thursdays. Lucas had already wrapped principal photography on Episode II and was in the midst of postproduction. ILM was deep into about a two thousand shots. The trickiest involved a climactic duel between Count Dooku (Christopher Lee) and Yoda, who was going to be digitally animated for the first time instead of being puppeteered by Frank Oz (who would still supply the voice).
Their fight looked iffy. My first day at Lucasfilm I’d been given a VHS tape of the rough cut to watch on a small TV—please note: this was my first day, but they shared what is often jealously guarded on film productions—a complete view of a work-in-progress. When the story got to the Yoda/Dooku confrontation, all I could see was a tiny wisp of a creature darting and cartwheeling around a old man flailing with a lightsaber. Everyone, even animation director Rob Coleman, was a little worried about it.
But on my first visits to ILM, the atmosphere was relaxed, congenial, the place I’d seen in the pages of Thomas G. Smith’s book come to life. As hundreds if not thousands of online and magazine articles have observed, ILM did not advertise itself; there was no sign outside. Instead, its modest entrance was hidden behind a plain glass office door with “Kerner Optical” marked on it. If it had been otherwise, there would have been an endless flow of fans, visual effects aficionados, and cinéphiles on pilgrimage trying to get in.
Rick McCallum had suggested I give John Knoll a call. John was one of the visual effects supervisors (vfx supes) on the Prequel Trilogy, with a deep voice and goatee, an analytical view of life, and an abiding, deep respect for all aspects of the facility and its history. […]
John was touring me around the 2001 iteration of the model shop, where men and women were painting, sawing, hammering, sculpting, and using machines I’d never seen before. We walked through one studio after another, once through a “door” freshly knocked through a wall with sledgehammers.
“ILM is kind of like a rabbit warren,” John explained.
The facility’s sprawl took up several buildings, about a whole block’s worth, and it was always being re-routed, expanding and collapsing with the needs of new “shows” and changing technology.
The most radical recent development had been the gradual, then sudden emergence of digital effects. Lucas had championed them, bankrolling advances at ILM as he had at Sky Sound, since founding The Computer Division in 1979. That day, I saw glimpses of their digital pipeline while walking past folks at computers rigging animated aliens and far-out creatures. On the walls and hanging from the ceilings were remnants of previous films: an E.T., the starship Enterprise, model cars from Men In Black, a dragon, a wampa, a miniature DeLorean. I could have spent the whole day there and not seen half of it. […]
The whole place was informal. Studio areas were plastered with in-jokes, drawings and more drawings, funny signs, sculpts, photos, and souvenirs from old scale-model sets. There was also an underlying current of stress. It was intense work, and deadlines and money were always tight. Yet it wasn’t a public company. Ultimately ILM answered only to Lucas. So the different currents merged and overlapped, and vied for attention, but the people I met were in good spirits. Many had been there for a long time, such as model shop supervisor Lorne Peterson, a bearded, wavy-haired giant, who was almost deaf in one ear. […]
“ILM is like a miniature Florence during the Renaissance,” Peterson told me, confirming what I’d felt years before.
After taking in the sights—notably, the Howard Anderson Optical Printer, a relic of the facility’s celluloid years—on the way to the theater in “C” building, adjacent to the soundstage, John joined McCallum, Rob Coleman, Tiemens, Church, vfx supes Pablo Helman and Ben Snow, and others who always attended dailies, sitting near or around Lucas. A few of the core group had known each other for quite a while and had made many breakthroughs together. They would attend each other’s weddings and significant birthday parties. A few were part of the original team that had changed the cinematic world and then some.
I sat nearby so I could hear what they were saying and do my job of reporting for an in-progress book I was editing. At the foot of the stadium seating, in a corner near the screen, an R2 unit had been placed next to a totem-pole–like listing of movies for which ILM had been nominated or received an Oscar, from Star Wars at the bottom, rising through Raiders of the Lost Ark and Terminator 2: Judgment Day up to 2001’s nominees, Pearl Harbor and A.I.: Artificial Intelligence—around 20 in all.
Dailies might include a couple dozen or more shots that Lucas would either approve or alter, not taking more than 30 to 45 minutes. A digital shot of Yoda, with his hair unattached to his head, made people laugh. But Yoda’s fight shots with Dooku were slowly improving.
Seeing white-armored ghost-like troopers advancing through a multicolored haze of lazer fire, Lucas said enthusiastically, “Now that’s the Clone Wars!”
Looking back and knowing more now, I can say that I was viewing the tail-end of a long tradition in which ideas were relatively free to flow. The atmosphere in 2001–02 was more uptight than in 1976, but still functional. Knoll or Muren or nearly anyone in the theater could offer up ideas or critiques. If it was going to slow down the process, or cost more money, they’d be at risk from McCallum, but people weren’t overly shy, and Lucas listened. At least, that’s the way it seemed to me. (In all these observations, the rule of Rashomon is in play… And note: Rick would tell me that he’d found ILM, back in the 1990s, to be mired in tradition, and that he’d had a difficult time pushing through Lucas’s digital agenda, etc. Conversely, I got the feeling that some ILM folks resented Rick’s forays into their areas of expertise as well—but that’s a subject for those who were in the trenches.)”


J. W. Rinzler used to be a writer and editor at Lucas Licensing. He wrote The Making of Star Wars Revenge of the SithThe Art of Star Wars Episode III: Revenge of the SithThe Making of Star Wars: The Definitive Story Behind the Original FilmThe Making of The Empire Strikes BackThe Making of Return of the Jedi, and also the comic mini-series The Star Wars and two episodes of The Clone Wars.

J. W. Rinzler says “the audience cheered” when Yoda confronted Dooku in Attack of the Clones

aotc4

From J. W. Rinzler Blog:

“During a business trip to New York City a week later, I went to a movie theater to watch [Attack of the Clones] again. I wanted to see how people were reacting to it. During the climax, when tall Dooku turned to see who had dared enter his hideout—and saw small Yoda, who pulls out his lightsaber before launching into their peripatetic fight—the audience cheered.”


J. W. Rinzler used to be a writer and editor at Lucas Licensing. He wrote The Making of Star Wars Revenge of the SithThe Art of Star Wars Episode III: Revenge of the SithThe Making of Star Wars: The Definitive Story Behind the Original FilmThe Making of The Empire Strikes BackThe Making of Return of the Jedi, and also the comic mini-series The Star Wars and two episodes of The Clone Wars.