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Entertainment Weekly Entertainment Weekly Star Wars The Ultimate Guide to the Complete Saga

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22 Udgivelser

i denne udgave

3 min.
the force is with us, always

KENNY BAKER, THE MAN INSIDE R2-D2 in six of the Star Wars movies, always remembered the woman who wrote him years after the original trilogy had come out. She told him that in childhood she had been teased and bullied. Growing up had been tough. But what got her through those dark days, she said, was R2-D2—the beeping blue-and-white tin can, always rolling along on new adventures, the best friend a gloomy little girl could wish for. Multiply her by a few hundred million, and you begin to get an understanding of the power of the Force. Storytelling, as far back as primordial cave paintings, depends on an emotional connection with the audience for the experience to truly take root in the heart. When Star Wars opened in 1977, crowds packed…

5 min.
a new hope

EPISODE IV A LONG TIME AGO IN A GALAXY FAR, FAR AWAY—10 words that changed movies forever. In that elegant prologue lie infinite possibilities: the promise of romance, adventure and escapism far removed from the here and now. Like “Once upon a time,” this phrase feels like the windup to a fairy tale, which is exactly what George Lucas’s Star Wars was always meant to be: an exuberant science-fiction parable about good and evil, power and powerlessness, the white-light virtue of the Force and the insidious villainy of the Dark Side. When Star Wars hit theaters on May 25, 1977, it didn’t just redefine our understanding of what a Hollywood blockbuster could be. It snowballed into a communal experience of sight, sound and spectacle uniting audiences young and old. Those early birds…

5 min.
the empire strikes back

EPISODE V WHILE STAR WARS HAD AMBUSHED the culture in a celluloid stealth attack in 1977, there was no such surprise when The Empire Strikes Back arrived in theaters on May 21, 1980. Audiences were primed. The stars of the series were all returning—and thanks to George Lucas’s generous decision to give each of them a small-but-lucrative piece of the first film’s staggering profits, why wouldn’t they? Carrie Fisher’s Princess Leia was now less of a damsel in distress and more of a take-charge leader of the Rebellion. Harrison Ford, who had parlayed his role as Han Solo into high-profile parts in Force 10 from Navarone and Hanover Street, was back as the cocky space cowboy. And Mark Hamill, who had been in a serious car accident that required facial reconstructive surgery…

5 min.
return of the jedi

EPISODE VI AS THE EAGERLY AWAITED RELEASE OF RETURN OF the Jedi neared, there were mixed emotions among the Star Wars faithful. As far as anyone knew, George Lucas’s trilogy would be just that: three films and three films only—a beginning, middle and end. Now the third and final act was finally upon us, and its arrival felt bittersweet for fans, some of whom had waited as long as eight days in lines outside movie theaters to purchase tickets for the opening day: May 25, 1983. Lucas had been a busy man in the three years since The Empire Strikes Back. Moviedom’s newly minted mogul had produced both the steamy 1981 noir Body Heat and the same year’s blockbuster sensation Raiders of the Lost Ark—a new take on an old-fashioned action-adventure formula…

2 min.
behind the scenes: making history

2 min.
the monsters and the magic

THE STAR WARS SAGA BROKE CINEMATIC GROUND IN COUNTLESS WAYS—but its real lasting impact might be in the realm of creature creation and visual effects. “At that point in time, the tech pinnacle was 2001: A Space Odyssey, but the problem was you couldn’t pan,” George Lucas said in 2015, speaking to the challenges he encountered with A New Hope. The stop-motion technology then available just couldn’t do justice to the epic battles the filmmaker sought to stage or to the characters he wanted to fashion, so he opted to create something better. “Now, [Stanley] Kubrick wanted a quiet movie, but I was telling a space fantasy. So [special-effects pioneer] John Dykstra had to come up with a new technology that allowed lots of camera moves—pans, cuts, tilts. I had…