Instruct: Given a question, retrieve relevant passages that can help answer the question.
Query: Who was costume designer for the first Star Wars movie?
Mollo subsequently moved into costume design. In 1975, for his first film, Mollo unexpectedly found himself working not on a historical military drama but in a genre he had no knowledge of: science fiction. He was commissioned by a young filmmaker named George Lucas to devise uniforms and outfits for a fantasy space war film, "Star Wars". When asked at the time by a friend about the project, Mollo said that he thought it was a "sort of a space western and one of the heroes is a dustbin". Lucas's project envisioned a cast of heroes battling an evil Galactic Empire, and he briefed Mollo to design costumes that would not resemble the stereotpyical "spacey" look of earlier science fiction productions such as "Flash Gordon" — " I don't want the audience to notice any of the costumes. I just want to see light versus dark." The aim was to make Lucas's fantasy universe appear authentic — Mollo considered that his total ignorance of science fiction was advantageous in achieving this. Lucas provided Mollo with sketches and concept art by Ralph McQuarrie to work from, working McQuarrie's designs for Imperial stormtroopers and the malevolent character of Darth Vader into functional costumes for actors to wear. McQuarrie's image of Darth Vader had developed from Samurai armour, and Mollo built up a costume using a combination of clerical robes, a motorcycle suit, a German military helmet and a gas mask from Bermans and Nathans costumiers in Camden Town. Mollo intentionally designed the uniforms of Imperial officers to resemble German Nazi officers' uniforms; by contrast, the heroes of the film were dressed in costumes resembling Wild West outfits. One of Mollo's biggest challenges on "Star Wars" was to create a plethora of exotic aliens to feature in the Mos Eisley Cantina scene. Mollo worked with George Lucas to compile a chart of visual designs for a range of character types. He collaborated with make-up artist Stuart Freeborn, who designed the masks and prosthetics to match each of the costumes, along with Doug Beswick, Rick Baker and Phil Tippett.
Princess Leia's bikini (also known as Princess Leia's metal bikini) is an iconic costume worn by actress Carrie Fisher as Princess Leia in the 1983 "Star Wars" film "Return of the Jedi".
One of the more popular "Star Wars" characters, Leia has been called a 1980s icon, a feminist hero and model for other adventure heroines. She has appeared in many derivative works and merchandising, and has been referenced or parodied in several TV shows and films. Her "cinnamon buns" hairstyle from "Star Wars" (1977) and metal bikini from "Return of the Jedi" have become cultural icons.
Leia was created by "Star Wars" creator George Lucas, who in 1999 explained his early development of the main characters:
In the rough draft of "Star Wars", Leia is the spoiled teenage daughter of King Kayos and Queen Breha of Aquilae, with two brothers, Biggs and Windy; Biggs returned to the fourth draft as a childhood friend of Luke. Leia was at one point "the daughter of Owen Lars and his wife Beru ... Luke's cousin–together they visit the grave of his mother, who perished with his father on a planet destroyed by the Death Star." A later story synopsis establishes Leia as "Leia Antilles", the daughter of Bail Antilles from the peaceful world of Organa Major. In the fourth draft it was established that "Leia Organa" came instead from Alderaan.
The script was doctored by Rajamouli's brother, S. S. Kanchi, while Janardhan Maharshi and Crazy Mohan wrote the dialogue for the Telugu and Tamil versions respectively, marking their first collaboration with Rajamouli. James Fowlds was initially chosen as the film's director of photography, but was replaced by K. K. Senthil Kumar due to creative differences and scheduling conflicts. M. M. Keeravani composed the film's soundtrack and score, Kotagiri Venkateswara Rao edited the film, Ravinder Reddy was its art director, and Rajamouli's wife Rama worked on the costume design.
Although details, such as the superlaser's location, shifted between different concept models during production of "Star Wars", the notion of the Death Star being a large, spherical space station over 100 kilometers in diameter was consistent in all of them. George Lucas gave the original task of designing a "Death Star" to concept artist and spaceship modeler Colin Cantwell, who had collaborated with Stanley Kubrick on the 1968 film "". In a 2016 interview, Cantwell related that "I didn't originally plan for the Death Star to have a trench, but when I was working with the mold, I noticed the two halves had shrunk at the point where they met across the middle." As it "would have taken a week of work just to fill and sand and refill this depression," Cantwell suggested a trench to Lucas to save the labor. Lucas liked the idea, and the Death Star model was created by John Stears. The buzzing sound counting down to the Death Star firing its superlaser comes from the "Flash Gordon" serials. Portraying an incomplete yet powerful space station posed a problem for Industrial Light & Magic's modelmakers for "Return of the Jedi". Only the front side of the 137-centimeter model was completed, and the image was flipped horizontally for the final film. Both Death Stars were depicted by a combination of complete and sectional models and matte paintings.
As production for season one progressed, more artists were brought on board. Dan "Ghostshrimp" Bandit, a freelance illustrator who had also written and storyboarded on "Flapjack", was hired as the show's lead background designer; Ward told him to create background art that set the show "in a 'Ghostshrimp World". Ghostshrimp designed major locations, including Finn and Jake's home, the Candy Kingdom, and the Ice Kingdom. The position of lead character designer was eventually given to Phil Rynda, who held this role for two-and-a-half seasons. The lead production crew for the show (which included Ward and McHale) were initially hesitant to bring him on board, but they were soon convinced by director Larry Leichliter, who assured them that Rynda was talented and could draw in a variety of styles. With the producers satisfied, Rynda quickly began designing characters that were simple but that still fell in line with "Pen's natural aesthetic". Around this time, Rynda and McHale began drafting artistic guidelines for the show, so that its animation style would always be somewhat consistent. With many of the lead production roles filled, Ward turned his attention to choosing storyboard artists for the first season. He eventually assembled a team made up largely of "younger, inexperienced people", many of whom he discovered on the Internet. Many of these individuals had backgrounds in indie comics, and Pendleton Ward has called them "really smart, smartypants people" who were eventually responsible for inserting more idiosyncratic and spiritual ideas into the series.
During "Rogue Squadron" development, ""—the first new "Star Wars" film in more than 15 years—was less than one year from its scheduled release date. To take advantage of this marketing opportunity, Factor 5 included content from the upcoming film in "Rogue Squadron". LucasFilm provided the developers with design art for the Naboo Starfighter, a ship prominently featured in the new film. These designs were used to create an in-game model. Because the game was scheduled to be released six months before the film, Factor 5 was required to keep the ship's inclusion a secret. As a result, most of the game's development team at Factor 5 and LucasArts were not informed of its inclusion. A complex scrambling system was also developed to help hide the ship's code from gamers using cheat cartridges such as GameShark or Action Replay. More than six months after the release of "Rogue Squadron", LucasArts unveiled the code to unlock the Naboo Starfighter as a playable craft. The code has been named the Nintendo 64's most well-hidden code because of the length of time before its discovery.
The first Death Star's schematics are visible in the scenes on Geonosis in "" showcasing the early development of the Death Star prototype, the Death Star plans were designed by Geonosians led by Archduke Poggle the Lesser, a member of the Confederacy of Independent Systems, and is shown early in construction at the end of "". The Death Star plans are a central plot-point in the 2016 film "Rogue One" and the original 1977 film "Star Wars: Episode IV – A New Hope".
Chris Columbus, who directed the first two "Harry Potter" film adaptations, has cited the 1985 film "Young Sherlock Holmes", which he wrote, as an influence in his direction for those films. "That was sort of a predecessor to this movie, in a sense", he told the BBC in 2001, "It was about two young boys and a girl in a British boarding school who had to fight a supernatural force." Scenes from "Young Sherlock Holmes" were subsequently used to cast the first Harry Potter film. On 3 January 2010, Irish journalist Declan Lynch (writing in "The Sunday Independent") stated that "there's more than a hint of young Sherlock evident in Harry".
Ian McDiarmid (; born 11 August 1944) is a Scottish character actor and director. He has appeared in 47 films since 1976. He portrayed Emperor Palpatine in the "Star Wars" film series. He has received an Olivier Award for Best Actor and a Tony Award for Best Featured Actor in a Play for his performances.
Initially given a blue color scheme, the TIE fighter models for the first film were grey to better film against a bluescreen; TIE fighters in "The Empire Strikes Back" (1980) and "Return of the Jedi" (1983) shifted back to being a muted blue. Sound designer Ben Burtt created the distinctive TIE fighter sound effect by combining an elephant call with a car driving on wet pavement. In the book "The Sounds of Star Wars", the engine roar is likened to German Junker Ju 87 "Stuka" bombers, who used sirens to frighten civilians on raids. This could have been a possible inspiration for the sound. Combat scenes between TIE fighters and the "Millennium Falcon" and Rebel Alliance X-wing fighters in "Star Wars" were meant to be reminiscent of World War II dogfight footage; editors used World War II air combat clips as placeholders while Industrial Light & Magic completed the movie's special effects. Darth Vader's distinct TIE Advanced x1 in "Star Wars" was designed to make it instantly recognizable, and the TIE Interceptors developed for "Jedi" were designed to look fast, deadly, and frightening.
One of his largest roles was in the Kurosawa epic, Hidden Fortress. It was in this role that he played a comic grotesque, opposite Mifune. His annoying peasant character Matashichi gave inspiration to George Lucas for R2D2. The taller fellow lead character, Tahei, played by Minoru Chiaki served as the inspiration for C-3PO. Additionally, the characters and general plotline involving a princess fleeing an evil empire formed the basis for Lucas's movie, Star Wars.
Star Wars: The Clone Wars is an American 3D CGI animated television series created by George Lucas and produced by Lucasfilm Animation, Lucasfilm and CGCG Inc. The series began with released on August 15, 2008, and debuted on Cartoon Network on October 3, 2008. It is set in the fictional "Star Wars" galaxy during the three years between the prequel films "" and "", the same time period as the previous 2D 2003 TV series "". Each episode has a running time of 22 minutes to fill a half-hour time slot. Dave Filoni is the supervising director of the series. Genndy Tartakovsky, director of the first "Clone Wars" series, was not involved with the production, but character designer Kilian Plunkett referred to the character designs from the 2D series when designing the characters for the 3D series. There is also an online comic depicting story snippets between episodes.
Lucas decided to invest in creating his own animation company, Lucasfilm Animation, and used it to create his first in-house "Star Wars" CGI-animated series. "" (2008–2014) was introduced through a . Both were accepted to the highest level canon in 2014; all series released afterwards would also be canon. In 2014, Disney XD began airing "Star Wars Rebels", the first CGI-animated series produced in the new era. Set between "Revenge of the Sith" and "A New Hope", it follows a band of rebels as they fight the Galactic Empire and helped close some of the arcs in "The Clone Wars". The animated microseries "Star Wars Forces of Destiny" debuted in 2017, focusing on the female characters of the franchise. The animated series "Star Wars Resistance" debuted in late 2018, is anime-inspired, and focuses on a young Resistance pilot shortly before "The Force Awakens".
Despite the influence, Fujiwara received no money from Lucas, and Lucas never personally thanked Fujiwara. Fujiwara may or may not have seen the Star Wars films, but he did not comment on what he thought of R2D2 or any other of the characters, though the subject of "Star Wars" was brought up in a televised discussion between himself, Akira Kurosawa, and his costars Misa Uehara and Minoru Chiaki. George Lucas acknowledged heavy influence of "The Hidden Fortress" on "Star Wars", particularly the technique of telling the story from the perspective of the film's lowliest characters, C-3PO and R2-D2.
R2-D2 (), or Artoo-Detoo, is a fictional robot character in the "Star Wars" franchise created by George Lucas. A small astromech droid, R2-D2 is a major character and appears in nine out of the ten "Star Wars" films to date. Throughout the course of the films, R2 is a friend to C-3PO, Padmé Amidala, Anakin Skywalker, Leia Organa, Luke Skywalker, and Obi-Wan Kenobi in various points in the saga.
Chris Chris is a Star Wars fan who first met Norm in line to see a star wars movie; and eventually filled in Norm's best friend role after Ford's departure. Chris was wearing a wookie costume at the time and unfortunately for Chris the zipper on the outfit got stuck so he was trapped wearing it for a long time afterwards. Norm got used to seeing his friend in the costume that he did not recognize Chris when he finally got out of it. Later Chris became one of Norm's co-workers when he was hired as an accountant.
In 2014, Disney XD began airing "Star Wars Rebels", the first CGI-animated series produced following the Disney acquisition. Set between "Revenge of the Sith" and "A New Hope", it follows a band of rebels as they fight the Galactic Empire and helped close some of the arcs in "The Clone Wars". Due to the film "Rogue One" being produced at the same time, the film and the series acknowledged each other. The series also included a canonical version of Grand Admiral Thrawn, the character from the "Legends " Thrawn trilogy.
Bob Chapek, Chairman of Walt Disney Parks & Resorts, stated that the "Star Wars" hotel would be Disney's "most experiential concept ever" when it opens. Chapek described the hotel as a "100% immersive" experience that "will culminate in a unique journey for every person who visits.” Some examples of the planned features included creatures and droids acting as certain hotel staff such as butlers; guests wearing "Star Wars" costumes; and an ability to interact with features of the hotel as if visitors were really in the "Star Wars" universe. Visitors would also be able to have lightsaber training and duels (an extension of the in Disney's Hollywood Studios); explore and pilot "Star Wars" spacecraft; and go on "secret missions" personalized toward the visitors' experience.
After Chris Columbus had finished working on "Harry Potter and the Philosopher's Stone", he was hired to direct the second film, "Harry Potter and the Chamber of Secrets". The production started within a week after the release of the first film. Columbus was set to direct all entries in the series, but he did not want to return for the third film, "Harry Potter and the Prisoner of Azkaban", claiming he was "burned out". He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.
The film accompanies the first female space traveler who was not a space agency employee, Anousheh Ansari, who paid US $20 million for her flight into space.
Costume designer Isis Mussenden designed the character's costumes for the first two "Shrek" films, for which she helped develop new technology to animate clothing in the then-new computer animation medium. The filmmakers wanted a more realistic approach to costumes than previous computer animated films, in which clothing was typically depicted as a tight layer over the figure, adorned with a few wrinkles. The filmmakers had envisioned Fiona's velvet gown as one that moves independently from her body, therefore one of the film's producers recruited Mussenden, with whom they had worked prior, to assist them with the process. Mussenden began by creating a one-quarter scale replica of the skirt. To determine the gown's volume, fullness and where certain areas would rest on the character's form, the costume designer worked with both a pattern maker and designer. The patterns and seams were then labeled and forwarded to the animators, who would replicate the images on the computer. Mussenden decided to give Fiona's dresses tight sleeves as opposed to the long, flowing sleeves associated with traditional medieval clothing due to the difficulty the latter would have been for the animators. Unlike "Shrek", Fiona has several costume changes in "Shrek 2". In the sequel, both Fiona's ogress and human forms are shown wearing the same green dress. To ensure that both forms looked equally flattering in the same outfit, Mussenden lowered the dress' waistline to make it more medieval in appearance than the costume she wears in the first film. Fiona's first costume is a lilac dress, which Mussenden designed to appear " organic and textured, because she's been living in the swamp". Towards the end of the film, she changes into a white ballgown with rhinestones inspired by an image of a 1958 dress the costume designer had found. Actor Antonia Banderas, who voices Puss in Boots, originally found it challenging to accept some of the film's unconventional approaches to fairy tales, namely regarding Fiona's appearance. Banderas explained, "I’m thinking how wonderful Fiona was, how beautiful she was. She looked like a beautiful girl you would find on the street and make you fall in love with her ... Then I had a certain resistance as a spectator for her to be an ogre. Even if she’s a nice ogre. I was thinking in the back of my brain, they’re going to end up being humans at the end of the movie. That’s what I had to break in myself ... I said, ‘No, I have to accept this end. This is the right ending for a movie like this.’" The actor believes that several audience members "went through this process when they were observing this movie" because "We are used to rejecting ugliness without reason.”
The Starfleet uniforms were redesigned for the film by longtime "Star Trek" costumer Bob Blackman to give a more militaristic feel, with grey padded shoulders and colored undershirts. Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton, a newcomer to "Star Trek" who was responsible for more than 800 costumes during production. Everton was tasked with updating the Borg's costumes to something new, but reminiscent of the television series. The bulky suits were made sleeker and outfitted with fiber optic lights. The time-travel aspect of the story also required period costumes for the mid 21st century and the 1940s "Dixon Hill" nightclub holodeck recreation. Everton enjoyed designing Woodard's costumes because the character went through many changes during the course of the film, switching from a utilitarian vest and pants in many shots to a glamorous dress during the holodeck scene.
Everton and makeup designers Michael Westmore, Scott Wheeler, and Jake Garber wanted to upgrade the pasty white look the Borg had retained since "The Next Generation"s second season, born out of a need for budget-conscious television design. "I wanted it to look like they were [assimilated or "Borgified"] from the inside out rather than the outside in," Everton said. Each Borg had a slightly different design, and Westmore designed a new one each day to make it appear that there was an army of Borg; in reality, between eight and twelve actors filled all the roles as the costumes and makeup were so expensive to produce. Background Borg were simulated by half-finished mannequins. Westmore reasoned that since the Borg had traveled the galaxy, they would have assimilated other races besides humans. In the television series, much of the Borg's faces had been covered by helmets, but for "First Contact" the makeup artist removed the head coverings and designed assimilated versions of familiar "Star Trek" aliens such as Klingons, Bolians, Romulans, Bajorans, and Cardassians. Each drone received an electronic eyepiece. The blinking lights in each eye were programmed by Westmore's son to repeat a production member's name in Morse code.
Daniel Orlandi returned as costume designer for the film after doing so on "Logan", and worked with Kinberg to design costumes for the X-Men that were closer to the original comic designs that Kinberg had wanted to see in the films since he first joined the franchise but had never been in a position to control before. The final costumes for the film feature the yellow-and-blue design of the original comics, but combine features of designs from many different incarnations of the group. Kinberg also looked to "Logan" for general design inspiration, wanting to replicate the "naturalistic" and "handmade" quality of that film for the costumes, sets, props, and title design. He felt that this would give more impact to the large-scale elements of the film, and help it be more emotional, comparing this idea to the original "Star Wars" films.
Kaplan reunited with Abrams for the first film in the "Star Wars" sequel trilogy, "", and returned to the franchise as costume designer for both "" and "".