In 1987 was Star Wars op sterven na dood. Geen nieuwe films, de Ewok en Droids TV series werden niet vervolgd en ook aan de Marvel reeks was een einde gekomen. De redding van de franchise was gelukkig nabij want West End Games bracht in datzelfde jaar de Star Wars Role Playing Game uit.
Ter ondersteuning van dit spel verschenen en tientallen boeken waarin dieper en gedetailleerder werd ingegaan op de Star Wars galaxy. Voor het eerst konden we meer lezen over Bib Fortuna, hoe hoog de schuld van Solo bij Jabba was en kwamen we te weten dat Greedo een Rodian is. Kortweg gezegd: dit spel is de grondlegger geweest van de Expanded Universe en heeft de franchise tot 1991 (toen eerste boeken van Timothy Zahn verschenen) in leven gehouden.
De editor van al deze boeken is Bill Slavicsek, die ook nog eens de auteur is van A Guide to the Star Wars Universe. Als (hele) grote fan van de West End Games uitgaves (vorig jaar schreef ik er al over) stond een interview met Slavicsek al lange tijd op mijn wishlist en afgelopen week was het zover.
Interview met Bill Slavicsek
When was your first encounter with the Star Wars franchise and what did you think of it?
I know I followed the build-up to the film through Starlog Magazine, and I know I purchased the first issue of the Marvel Comic and the novelization when they were released shortly before the debut of the movie. It’s the actual day of release that remains fresh in my mind. May 25, 1977. For all that I had read, I can honestly say I wasn’t prepared for the movie I was about to see. I remember we cut school that day and traveled into Manhattan, to the Loews Astor Plaza, to get in line and wait for the first showing to go on sale. We were the first ones there, of course, and the line grew to an acceptable half-dozen or so other groups by the time the ticket booth opened. From the moment the words “A long time ago …” appeared upon the screen, to the opening scroll, to the Star Destroyer that went on forever, I was hooked. There was no going back. Star Wars (it wasn’t Episode IV or A New Hope yet) had a profound and lasting effect on me. I didn’t know it at the time, but it was going to become one of the biggest influences on my life and career moving forward—and I was still just in high school at the time! We stayed and watched the movie three times that day. When we emerged from the theater hours later, the line had grown to stretch around the block, and it never seemed to get any shorter that entire summer. I saw Star Wars on thirty-eight separate occasions that summer. What did I think? I thought it was the greatest movie ever made! Hey, I was a kid. But it remains one of my favorite films of all time, and it changed the way movies were made.
You joined West End Games in 1986, a year before the Star Wars RPG was released. How did you become the editor of so many Star Wars RPG books?
I started as an editor at West End Games, but before my first year of employment had ended, I was also writing and designing and developing products. I started on board games (such as RAF, Cosmic Encounter, and Kings & Things), then got to work on West End Games’ two roleplaying game lines, Paranoia and Ghostbusters. When Star Wars was presented to the staff, I wasn’t even scheduled to work on it. Someone had to handle the other product lines, and I was still the new kid on the block. It wasn’t long before I was able to demonstrate my love and knowledge of the property, and because I was good and fast at what I do, my first assignment was to team up with lead editor Paul Murphy to help develop and edit the roleplaying game rulebook. Initially, I was handed the introductory adventure and told to develop a format and get it ready for publication. After that, I followed behind Paul to make sure the book was as perfect as we could make it. About this time, Curtis Smith, the creative head of the studio at the time, was behind schedule on writing The Star Wars Sourcebook. He tagged me to be his co-writer to get the product finished by deadline, and I wound up writing the bulk of the book. As we finished the RPG and Sourcebook, West End Games was also in the process of moving the company to Pennsylvania. About this time, everyone above me decided, for one reason or another, to depart and seek their fortunes elsewhere. I wound up initially as the lead for Star Wars and shortly after that they promoted me to the creative lead of the company. After that, I wrote or edited much of what we were producing for Star Wars, and I developed everything before we sent it to Lucasfilm Licensing (LFL) for approval.
The Star Wars RPG came out in a time when Star Wars was more dead than alive. No new movies, no TV series, no comics and no books. Why release a game based on a franchise that wasn’t alive?
Prior to Star Wars, West End Games launched and had great success with another game based on a movie, Ghostbusters. We demonstrated that there was interest in a beloved but underutilized property if the product created to support it was good and true to the source material. We did that for Ghostbusters, and we certainly did that for Star Wars. In fact, getting to work on the Star Wars franchise at a time when we were literally the only people playing in that particular sandbox gave us a level of freedom that wouldn’t have been possible at any other time. With that freedom, we were able to lay the foundation for what would become the Expanded Universe—a foundation that’s still in place and being used in everything they’re creating today, from comics to novels, tv series to movies, even the new theme parks! Star Wars would have had a renaissance eventually, but I’m proud of the hand we had in helping it get there sooner rather than later.
Can you tell how the creative process of creating the Star Wars RPG went?
Greg Costikyan designed the RPG. For that product, I served as one of the editor/developers. All I remember about the RPG was getting involved in a ton of playtests, editing the pages as Greg handed them off, and playing the “Rebel Breakout” adventure over and over again to fine tune the flow. It wasn’t until I got pulled into The Star Wars Sourcebook that I actually saw the creative process from start to finish. Curtis Smith and I flew to Skywalker Ranch for a series of meetings with our contacts there. We presented our product plan, explained the nature of the products we wanted to create, and had to convince them to let us add details to what was in the movies and novelizations in order to develop the wealth of material needed for a roleplaying game. After that, the process was the same as it always was—create the best possible product you could for a property that you loved and respected. We had no idea at the time that what we were doing was going to have any effect at all on the greater Star Wars property. In fact, we were told repeatedly that George Lucas wasn’t beholden to anything we created. So, me and the West End Games creative staff would brainstorm product ideas, create outlines, and get them approved by LFL before assigning them to a staff designer or a freelancer. If I didn’t write a product personally, I either edited it or did a development pass to bring it up to standards before sending it to LFL for approval. That was the process, repeated over and over for the five years that I ran the line. At some point, our success had convinced LFL to expand their licensing opportunities, and a comic book and novel partner was brought onboard. That’s when LFL decided they wanted everything to match up, and our products became the reference materials for the other licensees.
In which ways was George Lucas involved?
We had very little interaction with George Lucas. We worked closely with the people in Lucasfilm Licensing, but Mr. Lucas was busy doing other things. We could occasionally ask him a question, but it had to be something he could answer with either a “Yes” or a “No,” and the question had to fit on an index card. Otherwise, our direction and guidelines came from LFL, and we were all kind of making it up as we went along. We were the first partner that was actually making new content for the Star Wars universe since the Han Solo and Lando novels and the Marvel Comics. And we were doing it in an unprecedented way by describing and expanding upon things seen in the actual movies. I know Mr. Lucas had our miniatures on his desk (we sent him a set of the metal miniatures that we had specially painted just for him), and he would purchase some of our art for display, but that’s really the extent of our interaction.
What was the hardest thing you’ve experienced while working on the Star Wars RPG and its books.
Probably the first conversations with LFL, when I had to convince them to allow us to create things beyond what we saw in the movies. I remember walking them through the aliens section of The Sourcebook. Presenting my arguments for why Hammerhead and Snaggletooth were great for helping a prop person find the right mask, but they were terrible names for intelligent species. That, and doing the research back in the days before the Internet. I had to comb through every novel (there were nine we were allowed to draw from and one we were asked to pretty much ignore), every “Art of” book and movie “Sketch Book,” the movie scripts, my collection of Starlog Magazines, the Marvel Comics (though we didn’t wind up using a lot from those), and the video tapes of the three original movies. I made reams of notes and jotted down loads of ideas as I poured through these resources over and over again.
You’re the author of the 2nd and 3rd editions of A Guide to the Star Wars Universe, a book that was seen on George Lucas’ desk when he was working on the Prequel Trilogy. Are there to your knowledge things in the prequels you created?
Your guess is as good as mine. I’ve seen information that says that the name “Rodian” made it into Mr. Lucas’s handwritten scripts and production notes, but it wasn’t used in the movies. It did eventually show up in the Clone Wars and Rebels animated shows, though. It also looks like some of our Force powers served as inspiration for what we see the Jedi do in the movies, the Jedi Code, and the use of Aurebesh script (we assigned meaning to the letters in one of our products). In the end, I’m just glad that the products we made inspired Mr. Lucas, in their own small way, to finally get back to the universe he created.
Which Star Wars West End Games book are you, most proud of?
I’m proud of all my products. Kind of like a parent with a lot of kids. But I always go back to the one that more or less made my name in the industry, The Star Wars Sourcebook. Even reading it today, thirty plus years later, there’s still a lot of great moments and information in that book. If that’s all I’m ever remembered for, that’s good enough for me.
30 years after the original release Fantasy Flight Games re-released the Star Wars RPG and Sourcebook. Do you know if there are plans to re-release more old Star Wars West End Games books?
I don’t have any specific insight into what FFG may or may not be planning. I know that they decided to pay homage to the original pair of books and I’m very grateful that they did. The reprints are beautiful and true to the original editions. I’m glad they’re available again for anyone who wants to see where all this started.
After three decades the West End Games books are sought after collectibles and still well loved by many fans. What do you think is the secret behind this?
All of the creators that worked with me on the original Star Wars RPG products loved Star Wars. We poured our hearts and souls into those books and tried our best to be true to the source material. And by having one vision that brought all those products together gave them all a focus and a voice that spoke to fans of the movies, whether they were gamers or not. In fact, we went out of our way to write the products as source material first and game books second. I’m just glad we were moderately successful in making the Star Wars universe come alive in those early West End Games products.
In the fall of 2018 your book Defining A Galaxy was released, a book about your time at West End Games and creating the Star Wars RPG. Why should every Star Wars fan buy it and read it?
I was feeling nostalgic as 2017 rolled around. It was not only the 40th anniversary of the original Star Wars film, it was also the 30th anniversary of the Star Wars RPG and Sourcebook. I attended Star Wars Celebration that year as a fan for the first time in forever, and when I got back I just felt that I had to collect my memories of how the West End Games products came together. To preserve the history, at least the way I remember it happening. Versions of what I was writing served as the basis for presentations I participated in that year at GenCon and the Lucca Comics and Game Fair. I tried to make it a fast and entertaining read while also telling the origin story, as it were, of what would become the Star Wars Expanded Universe. If you have an interest in Star Wars and where a lot of the background material comes from, or if you have an interest in the behind-the-scenes details that go into the creation of game products and worldbuilding, then I think you’ll get something out of my book. In the end, though, I wrote it so I would remember how all those products came together. It was written as much for me as for posterity. And it’s interesting to look back at a time when Star Wars wasn’t the focus of the public eye, when most of the world had decided it was no longer popular or relevant. Lucky for us, West End Games had a different idea and they let me take that idea and run with it. My book tells that story.
Thank you for the interview!
Meer unieke interviews vind je op: Star Wars Interviews
Exclusief interview met John Mogridge (Snowspeeder pilot)
Vechten tegen de Imperials op Hoth, Han Solo naar de Carbon freeze leiden én The Emperor onthalen op de Death Star. Brits acteur John Mogridge deed het allemaal. In The Empire Strikes Back is hij namelijk te zien als Snowspeeder piloot en Stormtrooper terwijl hij in Return of the Jedi een Death Star Gunner speelde.
Speciaal voor mijn eigen site StarWarsInterviews.com deed John Mogridge het volgende interview waarin hij terugblikt op zijn Star Wars tijd. Zoals gebruikelijk is het interview ook hier te lezen: op StarWarsAwakens.nl!
Interview met John Mogridge
How did you started your career in the movie business?
I joined the F.A.A. (Film Artistes Association) and the Central casting agency in November 1978. The Empire Strikes Back was my second film. You got work by phoning the agents and asking if there were any work “Calls”. They’d say Empire Strikes Back, Elstree studios, 8AM. That’s how I got my first day on The Empire Strikes Back. That was March 1979.
Can you tell how you got cast as a Snowspeeder pilot and snowtrooper for The Empire Strikes Back?
I arrived on my first day and the 2nd assistant director, Steve Lanning, gave me my daily salary voucher (we call it a Chit) with the title “Rebel” on it. I was a rebel for a while. Then they wanted snowspeeder pilots and he gave me that job. I did that until the end of May or the beginning of June. Then I was given the Snowtrooper role. That was only for a short time and finished my on and off run on The Empire Strikes Back as a stormtrooper in the carbon freezing chamber and Bespin cloud city scenes.
Three years later I got the call for Revenge of the Jedi as it was called at the time. I only played an Imperial gunner on that film in the Emperor’s arrival scene.
Did you see the first Star Wars movie before you got cast? What did you think of it?
I took my brother to see the original Star Wars film and really enjoyed it. I was lucky enough to get the autographs of Harrison Ford, Carrie Fisher, Mark Hamill and Dave Prowse for him when I worked on The Empire Strikes Back.
You’re one of the Snowspeeder pilots in the scene where Carrie Fisher gives the pilots instructions. What are the other scenes in which we can see you?
Some memorable scenes. The carbon freezing chamber seemed very high and a bit sinister compared to the bright and shiny cloud city set. I did a lot of filming with the second unit being directed by John Barry. Sadly, he was taken ill one day and died the next. A lot of people were upset by that. He was a nice man.
What do you recall of the shooting of your scenes?
A funny scene… there’s a picture on the internet where a snowtrooper is seen falling over as they enter Hoth. I was on that scene. I tripped but didn’t fall and it seems so did many others. It didn’t get in the film. Irvin Kershner took a long time to build a scene and the photo of me in the briefing scene standing around looking bored took ages to set up. He did do a great job.
Your Rebel pilot character got a name many years ago: Habeer Zignian. When and how did you find out and what was your reaction?
My character having been given a name was a complete and pleasant surprise. Although I only found out in 2018.
What is the best memory you have regarding Star Wars in general?
I am really proud to have been a very minor part in a great series of films. It changed my life. I met and I’m still in contact with so many friends like Alan Austen, Peter Ross, Chris Parsons (editor’s note: all three men played various parts in the original trilogy) and so many more who I wouldn’t have known without Facebook and the world wide family of Star Wars fans.
Meer unieke interviews vind je op: Star Wars Interviews
Exclusief interview met Bruce Logan (ILM)
Vraag een willekeurige Star Wars fan wie in A New Hope de Death Star vernietigde en de kans is groter dan een Gorax dat het antwoord Luke Skywalker is. Fout! Het was namelijk ILM’er Bruce Logan die verantwoordelijk was voor het letterlijk opblazen van het Death Star model in 1976. Dit was slechts een van de vele special effects waar Logan voor verantwoordelijk was in A New Hope.
Speciaal voor mijn eigen site StarWarsInterviews.com deed Bruce Logan het volgende interview waarin hij terugblikt op eind jaren 70; de begintijd van Star Wars. Zoals gebruikelijk is het interview ook hier te lezen: op StarWarsAwakens.nl!
Interview met Bruce Logan
In the mid 70’s you joined ILM to work on Star Wars. How did you get this job?
I had met with George and Gary at the beginning of the production when they were interviewing visual effects people. George got back from shooting the live action in England, and because the signature (very hi-tech at the time) motion control effects system was being constructed not a frame of film had been shot. Panicked, he called me up to head up a second unit effects unit to shoot puppeteers in black suits “flying” miniature spaceships on black rods. Not surprisingly this did not work out very well. So my unit moved on to do some of the signature explosions in the show.
Why didn’t you return to work on The Empire Strikes Back and Return of the Jedi?
After Star Wars came out, George moved ILM north to San Rafael to avoid Hollywood and all the “rules” that when with it. Half of ILM moved with him and the other half stayed in the same building and broke off to form Apogee (editor’s note: a VFX company).
What do you recall of your meetings with George Lucas?
I found George to be very organized, the man knew exactly what he wanted but not always how to get it. He gave me marching orders and then left me alone to figure out how to do it. I’m not sure that I even watched dailies with him as my unit was at another location across town. He must have liked what he saw because our unit moved to bigger and bigger stages and we shot bigger and bigger explosions.
You’re one of the first crewmembers of ILM in the 70’s. What was it like working there back then in Van Nuys?
As I was not part of the main unit, I did very little work on Valjean. However, as I was friends with almost everyone there and because they had a full machine shop, I spent many weeks there with my full race Mini Cooper machining parts and fabricating equipment. So, I got to experience the entire production process without really being involved.
Which shots/scenes were you responsible for? And are there good anecdotes you can share regarding creating them?
My claim to fame is that I blew up the Death Star. When I think back to the first day of our unit, I remember Joe Viskocil, our powder genius who constructed all the miniature bombs, I realize we were just a bunch of unsupervised kids running the orphanage. Joe came in the first morning and there was a huge explosion and a cloud of smoke coming out of the little room on wheels that was used to load film. Luckily there was only a loss of hair and a rash on Joe’s arms. It was an interesting way to start. But it never really got any better as the explosions got bigger and better, I remember running around the stage wiping burning napalm from my arms after one of our larger explosions. Later, looking at pictures of our shoot, I see that our only fire protection was a single hand held fire extinguishers. Ahh! simpler days.
What was the hardest effect to create while working on A New Hope?
Although I was not involved, I would say the Landspeeder was one of the hardest. In a non-CG world getting rid of the wheels putting in heat ripples and suspending it in shot where we didn’t see the whole craft.
However, the construction and first extensive use of motion control is obviously the most significant innovation of the movie.
Which effect from A New Hope are you most proud of?
Blowing up the Death Star, who wouldn’t be?
Today CGI has largely taken over and there are less practical effects. Is this –in your opinion- a good or a bad thing?
My favorite Visual Effects are when they based on live-action elements and then enhanced with CG. Whether based on miniature or full scale live-action, I like the organic feel of these kind of shots. Shot which are entirely CG still have an uncanny valley feel to them, even with the unbelievable advances in CG effects.
I read that you knew about Joseph Campbell before work on Star Wars started and you were happy George Lucas got a spiritual message out. Do you think that’s something modern Star Wars lacks after George left in 2012?
I think the Joseph Campbell influence fell away almost immediately. Any discussion of the “Force” became more about superhero (Jedi) powers and less about an elemental interconnectedness of all beings and all things. But the whole franchise is based on “A New Hope” and as such this philosophy unavoidably underlies everything. Thanks Joseph.
My final question: You blew up the Death Star, not Luke Skywalker. I guess you should have gotten that medal?
Yes. But what I don’t talk about so much is that, I also blew up Alderaan. I guess all that loss of innocent life, cancels out any medal I might be entitled to for the Death Star.
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Exclusief interview met Katie Purvis
Katie Purvis behoort tot een select groepje acteurs die op zéér jonge leeftijd al in de Original Trilogy te zien waren: in 1982 was ze pas 15 jaar toen ze geselecteerd werd om een Ewok te spelen in Return of the Jedi. Ondanks haar leeftijd was ze al behoorlijk bekend met de Star Wars familie aangezien haar vader Jack Purvis in A New Hope (hoofd Jawa) en The Empire Strikes Back (Ugnaught) te zien was en al jaren een duo vormde met Kenny “R2-D2” Baker.
Speciaal voor StarWarsInterviews.com en StarWarsAwakens.nl deed Katie het volgende interview waarin ze terugkijkt naar begin jaren 80, ingaat op de impact van haar vaders carrière, treurt om een mislukte ontmoeting met Harrison Ford én een unieke anekdote heeft over een zieke Ewok!
Interview met Katie Purvis
How did you get started in the movie business?
My dad Jack Purvis was working on Terry Gilliam’s Time Bandits movie where he played Wally, one of the six Bandits. One summer’s day he took me with him to the film set when they were filming the iconic Titanic scene. The story goes one of the little guys, Tiny Ross, had broken his arm when he fell whilst on horseback in a previously filmed scene, so Terry asked my dad if I would suit up and be Tinys stand-in for the shoot. So I was taken to costume and make up and transformed from a 14-year-old schoolgirl into Vermin the Time Bandit. That was how I got started in the film business!
And how did you get cast for Return of the Jedi?
Again, I consider myself very privileged in how I got cast in Return of the Jedi. This was due to my dad already having been in A New Hope and Empire Strikes Back. My dad’s agent asked me if I would be interested in being on the movie to play a teddy bear character a few months before. They were looking for around 50 short people to play Ewoks! As I was only 15 years old, I had to speak to my school to ask permission. At the time, I was taking my Mock O Levels exams, so I did have a bit of study leave during the filming days. So the production gave me a schedule and together with my head teacher we worked my exams around that. This meant I would be filming for two days and then sitting in an exam hall the next! Needless to say this made it very hard to excel at academics, when all I could think about was what was going on in the Ewok Village!
What do you recall of the filming of your scenes for the Return of the Jedi?
The whole 2-week experience was so exciting for me a teenager. I had already met Mark Hamill back in 1976 whilst my dad was working on A New Hope, as he had been to our house for tea, when my dad Jack and his partner Kenny Baker had been working in Cabaret in the evening after a day’s shooting. Dad brought Mark home before taking him out with them to watch their show. Mark was really kind to my brothers and I.
So when I met him again on Return of the Jedi it was just like meeting one of my dad’s friends. I didn’t really get introduced to the other cast members, as it can be really busy on set and my dad being so humble didn’t want to disturb them as he said they would be preparing for their scenes. This was a little disappointing as I had had a schoolgirl crush on Mr. Ford. First day on set my dad and I were standing in our Ewok costumes feeling all fat and furry when Harrison came past and greeted my dad! I was so nervous as I thought finally I am going to get the chance to meet my hero! Unfortunately not to be. Dad and Harrison had a chat and to my dismay my dad didn’t even introduce me and Harrison walked off into his position to begin the day’s scene! I won’t tell you how I expressed my disappointment to my dad about him being responsible for me not meeting my schoolgirl crush!
Did any strange, remarkable or funny things happen on the set?
I’m sure it’s well documented that the Ewok costumes were very uncomfortable and made you very hot and the eyes kept misting up. Kenny Bakers wife, Eileen, when I informed her that I was feeling unwell one afternoon, assisted by lifting her arm up and shouting ‘CUT’ when I told her “I think I’m going to be sick!”
At once the makeup lady rushed onto set and ripped my Ewok head off allowing me to upchuck my lunch! All I remember hearing was the guy from the Electric department shouting “Don’t be sick in my electric box!”
Return of the Jedi was directed by Richard Marquand, while George Lucas produced it. How were both men to work with?
Being young I didn’t really appreciate the fact that I was working alongside such greats as Richard Marquand and George Lucas, again because my dad been there from the start in 1976 so there was a great camaraderie amongst them all. To be honest I was so nervous I just did as I was asked. I think I speak for most of us who played Ewoks, it was the first time we’d met so many other Little People and all been together, so that was more exciting than working with these iconic film directors! It’s only now that I realize how blessed I was to have been part of those movies! And so wish I had taken photos and got autographs.
After Star Wars you starred in some of my favorite 80’s movies: Labyrinth, Willow and Legend. What fond memories do you have of those productions?
I loved working on the films that followed, Legend, Labyrinth and Willow, although Labyrinth was my favorite. Again for me it was about coming of age, I was now 18 and had past my driving test, although I didn’t have my own car My mum let me borrow hers. It was a red mini, which I felt so cool driving! This meant no longer did I have to drive to the studios with my dad, after all how uncool was that! We filmed Labyrinth in the summer months so we had a holding area just outside the Stage where the set had been built. There everyone would hang out, make up people, props and costume, actors and puppeteers! It was great time to be 18 and driving your mums Red Mini! I felt so grown up having just left school!
Your father Jack Purvis has played a lot of parts in the original trilogy, including popular characters like Teebo, the lead Jawa and an Ugnaught. How do look back at his Star Wars legacy?
Star Wars has been part of my family’s life since I was 10 years old. Even now I only have to hear the Star Wars music and I not only get goose bumps but I immediately am taken back in time to so many parts of my life growing up. From school summer fetes that my dad and Kenny Baker opened as guest celebrities The Minitones in the late 70’s to summer shows in Torquay where Jack and Kenny were appearing and where the showgirls would perform a show stopping number with lightsabers to the Star Wars theme tune whilst a prop R2 would spin around. My brothers and I would be watching from the wings most nights. Inevitably one of the showgirls’ lightsabers would break in two as she thrust it too hard and ended up missing someone in the audience. The crowd used love this part of the show, I suppose because Star Wars meant so much to everyone. I know it changed Kenny and Jacks lives, and ours too as our families were able to move to bigger houses in nicer areas. They became well respected as not just musical cabaret act but actors from a successful movie. The movie opened up other opportunities for them that they may never have had had it not been for their small roles in that low budget movie.
What would you regard as your best memory of all the movies you were in. Is there a special moment you’ll cherish forever?
I have been to places I never would have got to go to, had it not been for Star Wars and the love of the Star Wars community.
What are you doing these days? Are you still in the acting business?
Nowadays I no longer act as unfortunately as a result of back surgery I can no longer walk unaided. However, I have three children who would love to appear in any future Star Wars movies, so if there is any casting agents out there reading this were waiting to hear! That would make them the third generation of Purvis family to appear in the franchise. They have already been told by Mr. Mark Hamill himself, to call him Grampa!
So nowadays I am honored to be asked to appear at conventions and related Sci-Fi events.
The Star Wars community, along with some awesome people and actors have helped raise money for many charity events, which I am humbled to say has changed people’s lives. I can truly say I have met some very kind and warm-hearted people, whom I never would have met had it not been for Star Wars and its legacy.
And this is what is so incredible about the Star Wars Story!
Met grote dank aan Casper Fijlstra voor het mogelijk maken van dit interview!
Meer unieke interviews vind je op: Star Wars Interviews
Exclusief interview met Lesleh Donaldson (Kea Moll)
In september 1985 verscheen de eerste aflevering van Droids op de Amerikaanse TV; een 13-delige animatieserie over de droids van Star Wars: C-3PO (opnieuw met de stem van Anthony Daniels) en R2-D2. Op Boba Fett en een cameo van de Max Rebo band na waren alle overige personages nieuwe creaties.
Zo ook Kea Moll, die in de eerste vier episodes te zien was. Haar stem werd ingesproken door de Amerikaanse actrice Lesleh Donaldson die ook aan de andere animatieserie, Ewoks, haar stem verleende.
Interview met Lesleh Donaldson
How did you get started in the entertainment business and what got you started as a voice actor?
I started out as a child model and after doing my first commercial at 11 I just progressed from commercials to tv to movies then voice acting.
For the Droids and Ewoks series you voiced characters various characters including the heroine Kea Moll.
How did you get your parts for these series assigned?
I auditioned. To be honest I have no memory of Ewoks probably because I was one of many voices and it held no memory for me, as for Droids I replaced an actress whose voice they decided they didn’t like so they cast me and rerecorded my voice.
I played Kea Moll and like I said I have no memory of what I played in Ewoks probably various background voices; it was a paycheck sorry to be so off the cuff but I speak the truth.
What did an average day working on Droids/Ewoks look like?
I did what they asked, I guess my voice was well suited for Kea, again no memory of Ewoks. I came from a commercial voice background so not really an animated voice actor. You go into the Studio you record your voice and you leave it took no time at all. Also, I was starring in a hit play then so my mind was on that!
When you joined the Droids/Ewoks cast the Star Wars movies were the most successful movies ever. Had you seen the movies and what did you think of them?
I LOVED the first three Star Wars movies and had a huge crush on Mark Hamill so I was excited to meet Anthony Daniels. I took roles that they cast me in so there was no thinking about whether I wanted to be a part of it or not, I wanted to work.
How do you look back at the fact that you are part of the ‘Star Wars Universe’?
I don’t think I’m part of that Universe partly because it was animation and not the movie!
Besides Star Wars you done several other things like the movie Running with Michael Douglas. What do you regard as the highlight of your career?
The highlight of my career was in the 80’s when I had a career.
What would you give as an advice to someone who is reading this interview and wants to become a (voice) actor as well?
Like I said I’m not really a voice actor I got lucky because I had the right tone in my voice that producers liked back then but I would say that if you like doing character voices keep practicing and then make a tape and send it out because you never know!
What are you doing right now? Can you tell something about your current projects?
I’m currently still acting and I’ve written two scripts which are out being considered about to embark on a biopic of George Hislop a Canadian gay icon of the 70’s and 80’s.
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