Sinds hij in 2013 werd aangenomen als Creature Concept Designer is de brit Jake Lunt Davies verantwoordelijk geweest voor diverse nieuwe ontwerpen die in The Force Awakens, Rogue One, The Last Jedi én Solo te zien zijn: zo zijn BB-8, Pao, Vober Dand, Rey’s speeder, de Porgs, PZ-4CO en Ello Asty allemaal van zijn hand.
Speciaal voor deze site en mijn eigen site (StarWarsInterviews.com) deed Jake een interview waarin hij zeer uitvoerig ingaat op de grote vraag waarom er zo weinig bestaande aliens lijken terug te keren én uitleg geeft hoe diverse van zijn creaties zijn ontstaan. Dit, en nog veel meer, lees je allemaal in onderstaand interview.
Interview met Jake Lunt Davies
A long time ago… something inspired you to become a designer. I’d like to hear how it al started.
Since I was a child I’ve been drawing – I’d draw cars, spaceships and creatures. I was torn between wanting to be a car designer or movie production designer when I grew up. With films I’d always been fascinated by how they were made, what went on behind the scenes. I loved the special effects, the models and matte paintings. I loved the concept of the perfect artifice that was contained within the frame and that there was all this other stuff going on just out of sight. And with sci-fi films you had this freedom to create whatever you wanted – as a kid I remember designing my own new versions of spaceships and creatures for imaginary future Star Wars movies beyond Return of the Jedi. If I’d only known how things would work out one day!
How did you get involved with Star Wars and start designing all these creatures and droids for the movies?
I’d worked with Neal Scanlan on and off from 2000 to maybe 2005 doing design work. Our careers diverged after that – I was focusing more on work in commercials, storyboarding, design and subsequently some directing and I think Neal was doing more prosthetics and SMUFX. By the summer of 2013 I don’t think I’d been in touch with Neal for five years when he phoned me out of the blue to tell me he’d got Star Wars and was looking get some concept designers on the team.
Your biggest hit is without a doubt the Porgs. Fans love them and they’re also a commercial success. Could you tell something about the whole creative process of the creation of these creatures?
Yes, they have been somewhat commercially popular haven’t they? But as much as their presence might be seen to be a cynical marketing ploy purely to sell toys, they were never originally created to be that. Skellig Michael, the location for Ahch-To, is a UNESCO protected site and wildlife preserve…and quite liberally covered in puffins, either dotted about in the background or flying around the cliffs. Physically removing them was impossible and digital removal would have been a lot of work, so I think Rian decided to look at how he could work with this by introducing our own indigenous species. The idea was that we’d have these ‘throwaway’ background creatures crop up in various shots that would validate the real puffins you see in the wide landscapes of the island. Rian also saw that they might then be able to provide small moments of levity to the scenes on Ahch-To such as the Porgs investigating the discarded lightsaber or annoying Chewie in the Falcon’s cockpit. The brief was that the size of the creatures would obviously have to be in the region of a puffin and might want to have some similarly striking markings as they have on their beaks. I drew a few a pages of sketches – lots of little ideas looking at different aquatic and avian sources, such as otters, beavers, seals and seabirds. I probably got the essential Porg shape somewhere within these first few attempts. There’s an ethos of simplicity in the design of Star Wars that we try to adhere to (and maybe sub-consciously do anyway) – a clean recognisable silhouette, a shape that any child can draw and you’d know what it is meant to be. I’d been looking at seals, puffins and pug dogs, sketching these little ovoid shapes with big eyes sat right at the top of their heads and funny down-turned mouths that gave them a sort of sad yet neutral face. And it was these that Rian was drawn to.
The best droid design in the new movies is in my opinion PZ-4CO. To me, it looks like an Egyptian Anubis head inspired design. Since 2015 I’ve been wondering if that is where you got the inspiration from?
I suppose there is some Anubis-like quality to her design – the long face and the suggestion of ears. But I’m afraid it wasn’t an influence. I’d been playing with the idea that there could be C-3P0 type protocol droids that wasn’t necessarily human and would be used to specifically interact with another alien species. So I was drawing a lot of aliens and extrapolating a droid design out of them. Somewhere deep in vast amounts of artwork that have never been seen are some alien designs that share a look with PZ-4CO. Also, we did tweak the costume design for The Last Jedi – on The Force Awakens the neck ended up being bit too long compared with the original design so on The Last Jedi we got the opportunity to reduce it.
My favorite alien you created is Pao! What can you tell about the creation of him?
Pao started off as a wild looking tribesman for an abandoned scene in The Force Awakens. With a huge mouth and tiny eyes lost deep in angry wrinkles framed by a long mass of wild hair, he was only semi-clad in something like a grass skirt with tattoos covering his blue skin and clutching two or three throwing spears. There was going to be a scene in Rogue One with a tribe too and I represented the design again. That scene was also abandoned but Gareth really liked the core look of this alien – basically the big mouth – and he asked if I could redevelop him into a rebel fighter. So I tried to keep the silhouette of the long hair that the original design had by replacing it with a hat and havelock (neck flap) and giving him a more rebel like outfit, topped off with a long rifle. On a practical level, how we worked the performer Derek Arnold into the head is pretty cool. Pao’s mouth interior extends back around Derek’s face and cheeks so that when Pao’s mouth is wide open you are actually looking right back into Derek’s open mouth. The only way Derek can see is through slits hidden in the ridges of the roof of Pao’s mouth – so when the mouth is shut, Derek is blind and totally reliant on radio communication from the puppeteer operating Pao’s face.
The new movies feature a lot of great aliens. Still, a lot of fans wonder why so many new creations are in the movies instead of a more balanced mix of new and old, existing aliens. Do you know the reason for this?
I hear this question a lot and it is something that actually does get considered on all the movies we’ve worked on. Firstly, thanks for the appreciation for what we have contributed to the new movies! I think people forget that with the Original Trilogy, there wasn’t actually that much continuity of alien species from one movie to the next – off the top of my head the only one I can think of was Greedo in A New Hope and a Rodian dancer cropping up in Jabba’s palace in Return of the Jedi. The Prequels were better in that respect and you did get to see more Twi’leks and Rodians; and Rebels has continued brilliantly by having loads of Rodians and Ithorians as background characters. The thing is with these though is that they have had a certain ‘luxury’ of being digital or animated so adding a bunch of alien extras doesn’t have the logistical implications shooting practical does. For every creature we create it requires a suit performer, a puppeteer if it needs an animatronic face, an animatronic designer to build the mech, a fabricated alien body suit, a costume tailored for that shape plus all the sculpting, moulding, paint and hair to make it a reality. So the director really needs to want that alien in his film from the outset. And you also have to put yourself in the place of the director. Imagine you were given the chance to direct a Star Wars film…wouldn’t you want to use the opportunity to make the film your own; to introduce some cool new aliens? Anyway, as I said before, having ‘legacy’ aliens is something that has actually been considered for each film but unfortunately many have fallen by the wayside (along with many, many of our new designs!) during the production process with scenes being cut before the shoot and after filming in the edit. A few that did make it were the Mon Calamari in The Force Awakens, Rogue One and The Last Jedi; the Hassk that appeared in a Ralph McQuarrie Cantina concept were made for Maz’s Castle in The Force Awakens; and Twi’leks and Ponda Baba were made for Rogue One. We’ve also tried to create some continuity with the new species in the new films and you do see some recurring faces. One species in particular is the Abednedo, most notably the pilots Ello Asty and C’ai Threnalli. When I was working on The Force Awakens, I really wanted there to be at least another species that could have the ubiquity of humans in the SW universe. JJ had responded quite well to an early Abednedo sketch and I decided to draw a multitude of different versions – as scavengers, townspeople, bar patrons, pilots, etc. and bombard him with them at every presentation. And it worked – you can see them on Jakku, as a senator on Coruscant, Slowen Lo on Canto Bight and the aforementioned pilots. Anyway, I hope that what you can take from all this is that the inclusion of aliens from the previous movies is not something that is being ignored and that hopefully the balance will be redressed in the future!
You were heavily involved in the creation of BB-8. Christian Alzman did some designs but it was you who eventually realized the final model. What kind of ‘typical Jake Lunt Davies touches’ did you add to this droid?
Yes, BB-8 was the sum of a lot of peoples input – from the initial sketch by JJ, through Christian’s development and my final design. And even that was born out of the development of the puppet under Neal Scanlan’s supervision. As our team worked out how the puppet would be made, move and be operated, we tried out various different pattern structures on the ball of the body. The combination of the core arrangement of the six panels, their size in relation to the overall sphere and their offset positioning to the axle on which the ball rotates all worked together to maintain a texture to the body as BB-8 rolled – i.e. the pattern was bold enough not to just blur into nothing – and create the impression of an omni directional movement. As far as the details go, I don’t think I was trying to add any of my personal touches to the design. I was very focused on trying to make BB-8 feel as Star Wars as possible, that he would feel like a believable progression of an astromech droid design. When I came on board he had a much more anthropomorphic face, with two eye lenses and the suggestion of a mouth. I pushed to lose the mouth and make the lens arrangement more asymmetric, with a focus to being mainly on the single eye. Christian had already set the tone for the use of orange colour accents on the head and I continued to carry this over into the body with the rings on each panel, designing individual arrangements of tech within each one. All in all I feel the final design of BB-8 succeeds in fitting completely with the Star Wars aesthetic.
What was the biggest challenge you faced while working on the new Star Wars movies?
Well I suppose the thing is that we are designing not just for a movie but for this bigger thing that is Star Wars. Knowing we are contributing to something that means so much to so many people on so many different levels, that our designs can live on beyond the moment of the movie and have to stand up to scrutiny and analysis can sometimes be an added factor to the process.
If you could redo an alien, character or vehicle from the original trilogy or the prequels… which specific one would you choose?
As I discussed earlier in regards to the inclusion of classic designs in the new movies, we did look at some and some did get made. For example we remade the 2-1B, the medical droid from ESB, for Rogue One and there were elements of the original that were a bit rough and ready or inconsistent that had to be worked on. So while he looks the same at a glance, he’s got a tighter design around the eyes and fresh detailing on the shoulder joints. You never saw his feet in the movie and researching them threw up various different versions – as far as I was concerned, my take on his feet was what I knew from the action figure I had as a kid. So that’s the look we went with in the end. Otherwise this is quite a tough question to answer. I’m not sure there’s anything in particular I feel the need to redesign – they are what they are. But I suppose if there’s one detail I’ve never been happy with its the back of Luke’s landspeeder – its great all round until you get to the point where the side jet pods sweep into the back and they are just a bit clunky, lacking in detail and out of keeping with the rest of the vehicle.
Of all the things you’ve created for Star Wars, what do you regard as your best work and biggest achievement?
I think I’m pretty pleased with the success of BB-8, Rey’s Speeder and the Porgs…if I can say three things.
Several new Star Wars projects have been announced: a trilogy created by Rian Johnson, a TV series, new movies written by Benioff and Weiss… I guess you won’t be without any Star Wars related work for the next few years?
Who can say – it would be great to continue contributing to the Galaxy.
And we appreciate your work… thanks for the interview!
Meer unieke interviews vind je op: Star Wars Interviews – ‘Mem-Wars’ from a galaxy far, far away…
Exclusief interview met Nick Stanner (Stunt performer – The Mandalorian)
Wat zou Star Wars zijn zonder goede stuntlui? Iemand moet de stormtrooper zijn die door een vlammenwerper in rook opgaat of van een rots af valt!
In The Mandalorian ging stuntman Nick Stanner meer dan 30 keer ‘dood’ en was hij als diverse personages te zien. Van Mandalorian tot stormtrooper! Onlangs interviewde ik hem voor StarWarsInterviews.com en zoals altijd is het ook hier te lezen!
How did your journey in movies start? How and why did you become a stuntman?
Growing up in Omaha, Nebraska I was not around film at all. I grew up competing in Gymnastics for my parents’ club all the way through college. I was always flipping off something and in eighth grade I remember watching a movie, not sure which one, but I mentioned I wanted to “do that” as I pointed at the screen. My mom asked if I wanted to be an actor, and I said, “No, I wanna do the cool stuff!” Mom said Oh a stuntman?! I said yeah, and went back to being an eighth grader. Fast forward to after college, I was looking for a new apartment in Lincoln Nebraska where I went to collegians was telling my mom and she said, “I thought you said you wanted to go be a stuntman! When are you going to do that?” The second I heard my mom say that and I knew she supported me no matter where I was, I decided to leave. I headed to Florida to get involved with the live stunt shows at the theme parks like Indiana Jones at Disney, Sindbad at Universal and many others in the Orlando area. Once I got into some of those shows I started to meet people in the film industry.
How did you manage to get hired for The Mandalorian TV series?
One of my best friends that I met at the very first show I did when I moved to Florida was Ryan Watson, the Stunt and Fight Coordinator for The Mandalorian now. We have known each other since 1999. He is one of the best in the industry for fights and creative camera work.
Which characters did you play as a stuntman? The Mandalorian himself?
I played a mandalorian, but not THE Mandalorian. The Mandalorian stunt double is Lateef Crowder. He is amazing with movement. I played numerous characters. I died 32 times in the first eighth episodes, many as a stormtrooper. I did all the high falls so any time someone falls from a roof, that’s me. You can count at least four in the final battle in episode 1. 3 falls in one circle of the gun and one when IG-11 shoots me before they walk in the door. That’s a couple examples, but I am all over the place. I also was the green face guy with Carl Weathers and speeder bike trooper.
You just mentioned that you ‘died’ 32 times. What was your favorite death scene?
Each death was unique. My favorite is high falls, which is why I get to do them all, but being torched by mandos flame thrower as a stormtrooper.
Which of these characters was your favorite?
They are all fun to play, but there is nothing like being a jet pack mandalorian flying on wires. Kids dream come true!
Did you meet the Mandalorian himself, Pedro Pascal? How was he to work with?
I met everyone and worked with the whole cast! It’s an amazing crew with no lack of talent and everyone is very down to earth. Being there every day, I had a chance to get to know everyone pretty well. Pedro is a jokester so we got along great. I’m a big comedy fan so I enjoyed Bill Burr.
Did any weird or funny things happen on or off the set?
There were a few funny moments on set. Lots of laughs all around really but when it was time to work playtime was over. Off the set there was plenty of laughs and good times. When you’re working 10-14-hour days it takes the whole crew to keep everyone in good moods and in the film biz there is no shortage of laughs.
What is your favorite anecdote regarding the production of The Mandalorian?
My fave laughs, not sure of anecdote, was when Bill burr would mess with the crew. He has such quick wit and had the entire crew laughing!
Were you a Star Wars fan before you got cast?
I was a so-so Star Wars fan. I liked the movies, mainly the first 3, and saw them pretty young. Being involved has brought me a little deeper into the world but I would not consider myself a diehard fan.
The question I have to ask every stuntman: what is the most dangerous stunt you’ve ever done?
Most dangerous stunt would be getting hit by car in Death Sentence with Kevin Bacon, or a 9-story high fall while being lit on fire, but it could be being hung underneath a helicopter by 75 feet of cable and flown over Los Angeles! Hard to pick just one, they are all super fun to me!
Meer unieke interviews vind je op: Star Wars Interviews
Exclusief interview met Jake Cannavale (Toro Calican)
In aflevering 5 van The Mandalorian maakten we kennis met de jonge premiejager Toro Calican, gespeeld door Jake Cannavale. Speciaal voor zustersite StarWarsInterviews.com beantwoordde hij kort enkele vragen!
How did you get cast for The Mandalorian and were you a Star Wars fan?
They asked my agent if I would like to be in it. And I’m a massive fan and always will be.
How did the shooting of your scenes (most of them with Pedro Pascal) go?
They went very well. There was not a single difficult person to work with on that entire set. In my so far very short career that’s already not something I take lightly. Pedro Pascal was awesome! Mad love to Pedro.
You were directed by Dave Filoni, who many fans see as George Lucas’ heir. What is your opinion of him?
Other than the fact that he genuinely loves The Phantom Menace I have literally nothing bad to say about Dave. He’s the man. I loved working with him as an actor, and I have nothing but faith in him as a fan.
Did any weird or funny things happen on or off the set?
During me and Ming’s fight scene, Dave told her stunt double -whose name is also Ming- to actually kinda beat me up…it looked fantastic.
What is the best memory you have regarding The Mandalorian?
Probably knowing beyond the shadow of a doubt that I can pull off a blue leather outfit.
Besides acting you’re also a musician in a band called Vixen Maw. How would you describe the music you make and who are your musical influences?
Vixen Maw is an experimental grindcore band. I would describe us as the musical equivalent of getting lobotomized by an unlicensed brain surgeon with Parkinson’s disease and medical fetishism. I don’t like to speak on behalf of my band members (or anyone, as a general rule) but I can say we are all pretty eclectic in terms of our musical tastes, with extreme music being the anchor, or epicenter, so to speak. So our influences are pretty all over the place. I will say that we are currently writing a new album from our own respective quarantine spots and some of the bands I’ve been listening to for inspiration include Chepang, Bandit, Narayama, Vulva Essers, Cloud Rat, Botch, Wormrot, Coke Bust, Gulch, and Bryan Adams.
You’re almost 25 years old. Where do you see yourself in 10 years and what are your career goals?
In ten years I see myself hopefully having had enough memorable screen time to be sampled in some kids shitty grindcore band that his parents are sick of hearing rehearse from their garage. Also I would genuinely love to be writing for a living. Theater, film and animated television.
Meer unieke interviews vind je op: Star Wars Interviews
Exclusief interview met Richard Stride (Poggle)
Door de jaren heen is er de meest grappige en bizarre Star Wars trivia in boeken en op internet verschenen, maar wat de geur(!) van de Death Star plannen was -tot vandaag!- goed bewaard gebleven!
In een interview met zustersite StarWarsInterviews.com deelt Richard Stride (die aan Attack of the Clones en Revenge of the Sith meewerkte) een leuke anecdote.
How did you get started in the movie business and how did you get the parts of Poggle and a Clone Trooper in Star Wars?
I went to drama school at the Academy of Live and Recorded Arts and in 1993 I graduated and went straight into a Hollywood movie called First Knight. I actually was originally cast as Obi-Wan’s double for the films Episode II and III. However, I gained many extra characters along the way.
How did you play Poggle?
I was in motion capture suit and had a great scene with the late Christopher Lee. When filming the scene with Christopher Lee, with the Death Star plans, I made a remark to the props guy that how clever even the smallest props where in design and craftsmanship in even the Death Star Plans. He started to laugh which was strange and when I asked him what was so funny he told me they had forgot to make them and he had to dash out the day before and went to Halfords and it actually was a car air freshener. So I told Christopher Lee when handing over the Death Star plans it was something to freshen the whole Galaxy with.
Can you share some of your memories regarding the time you worked on both movies?
I loved it. I spent all my time on set and didn’t really go to the green room as it was so much more interesting to watch other peoples scenes etc. It was lovely to be part of a big family on set and chat to so many interesting people.
How did George Lucas direct you?
He is a very visual director and has a very clear idea of what he is after. You have to put your trust fully in a director as they can see everything, and that’s what I did.
Did they give you any memorabilia after the movie was finished?
I was given a T-shirt and a signed call sheet on the last day of filming and a personal thankyou of George Lucas.
When was your first encounter with the Star Wars phenomena?
I saw it as a child on TV and loved it. I watch it over and over again.
What are your thoughts on the two Star Wars movies you were in?
I liked them and they are great movies to keep returning to as you learn something new each time.
What do you regard as the highlight of your career so far?
I loved doing Star Wars, but also Shakespeare in Love, and playing Hamlet for the stage.
Meer unieke interviews vind je op: Star Wars Interviews
Exclusief interview met Paul Brooke (Rancor Keeper)
Het is een van de meest bekende scenes uit Return of the Jedi: de scene waarin we een huilende Rancor keeper zien met op de achtergrond de zojuist door Luke verslagen mega monster. Afgelopen december was de Britse acteur Paul Brooke die deze rol vertolkte te gast op de EchoBase conventie in Utrecht. Uiteraard sprak ik hem voor mijn site StarWarsInterviews.com over de wellicht meest bekende seconden uit zijn leven én kwam ook een van de meest bekende acteurs allertijden ter sprake. Volgens traditie is het interview ook hier te lezen.
How did you get cast for Return of the Jedi?
I was touring India with a play for the British Council and my manager had trouble getting in touch with me because we were moving around from city to city. When we got to Calcutta, there was a message in the hotel waiting which said, “I’ve accepted two days filming for you the week you get home”. You have nothing to do. But we both made the money. Which made me laugh at the time and hadn’t really made me laugh ever since because I feel like I’m privileged to be even in a small role, the smallest role I ever played in front of a camera in a lucky career where I’ve rarely stopped working. But how lucky I was to be part of this extraordinary franchise.
What was your initial feeling when you got the part? Star Wars was very popular and this much anticipated movie promised to be big; it had the biggest budget of all three.
I wouldn’t have known that from my two mornings. But having said that, I’ve appreciated it, to be honest, more over time than I did at the time. For the reason that I’ve given you. Because I was nice and busy, I was lucky with work, and I was normally playing much better parts. But then the fact that people remember after all these years and that I get mail every week shows that even if it’s a small part, if it works, which is not just tied to the actor, of course it’s down to the script and everything. But if it works, it can make an impact that people will stick with. I’ve had the most extraordinary stories from people over the years of not only of their enjoyment, but of the passing on their enjoyment to their children and even grandchildren, which is rather touching. Probably if I’ve been offered the part and I was at home because I had loads of work where I had more to do, I would probably have turned it down and I would have regretted it like mad with hindsight.
Did you see the other two movies?
I think I’ve seen them both. I’ve certainly seen Star Wars. I was amazed and surprised that a very intellectual British theatre director, a famous guy at the time called William Gaskell, who I worked with at Royal Court Theatre, a pioneering theatre in London and who was rather up-market in all sorts of respect. I was doing a play with him before I got offered Return of the Jedi and he came out with the fact that he was a huge Star Wars fan. At the time I hadn’t seen the film and I didn’t think I thought, well Sci-Fi not particularly my scene. But then when Gaskell said, but it’s wonderful, it’s absolutely wonderful. You have to see it. So, I did and I was hooked like all the millions of others over the years.
What do you remember about the filming of your scenes?
The main thing I remember is how short it was. I did the little bit with Mark Hamill and then the following morning it was just me on a rostrum in front of a blue screen. No Rancor and nobody except for me being given directions by Richard Marquand, the director. Raising my head a little, turning the right a little up a little more. Now you’re looking at the Rancor, which of course I wasn’t, because the Rancor wasn’t there. And then on the cue having to burst into tears. That was my experience from the acting point of view. I mean, that in itself is not easy because normally you have other actors or even if the Rancor had been there in some shape or form you can respond to that. Responding to thin air is not always easy.
Did you know then what the Rancor looked like?
No, not at all.
The first time was when I saw the film and the first time I was actually WITH the Rancor was two years ago in Kentucky when this guy who built a huge Rancor for thousands of dollars and who takes it round the conventions, making money from people to be photographed with the Rancor. He said my model is up, would you pop up when you have a break, have some photos taken? I said “of course!”, and it was stunning.
Can you share any remarkable, unique, strange or funny things that happened?
I think the strangest is what I’ve already told you because it was so brief. I didn’t get to know any of the other actors. So, I said hello and shook hands with Mark Hamill. There were no personal stories. The strangest thing I think was the only time at that that I had to do something which was apparently responding to a creature that wasn’t there. But I’ve had other strange experiences in films and television. Maybe the strangest acting during a scene with Marlon Brando in an anti-apartheid film called Dry White Season, where although he was there and huge at the time. He was one of the only actors who made me feel small. It was really delightful, but he didn’t learn his lines. So, after you’d said you’re lying to him, you waited for ages while the woman upstairs told him through an earpiece what to do next, so there was a silence. You heard this in the background and then he’d come at you one hundred miles an hour force of his personality. You’d come in on cue. Then another long gap while upstairs the line was going into his ear. That’s difficult because you can’t suspend disbelief. It becomes a like an acting exercise because normally the response of the of the people helps you to act well, and if you’re not getting it straight back, there’s nothing to believe. So, when he speaks, you can respond to that but by then you’re out of the action for a period while the woman is telling him what to do. But I wouldn’t have missed it for anything. I mean, heavens, having acted with Marlon Brando, hero of my youth.
In fact, it was filmed in Zimbabwe because they wouldn’t allow at the time an anti-apartheid film to be filmed in South Africa. And I had two scenes there, one with Donald Sutherland and one with Brando. After I had done the scene with Sutherland they said, you can’t go home yet because we don’t know if Marlon Brando is coming or not. They said you don’t have to stay in the capital. You can go sightseeing, you can go to Victoria Falls, Lake Kariba and all these fabulous places but phone in every evening and we’ll let you know. So after about 10 days or something, I phoned in and they said, he’s not coming so you’re on the next plane back to London. I came back alone and they mounted his scenes, I think, at Pinewood, if I remember right. He was just in court scenes, so as isolated section of the film, he played an attorney. Then we filmed those couple of months later or something like that just outside London. When I first met him and introduced him, I said, I’m so grateful to you for not coming to Zimbabwe because I had this fabulous holiday at the film company’s expense. Now here I am at Pinewood being paid all over again for the same job. The great Marlon said to me “Glad to be of service”.
You have done a lot in your career but most people will always remember you for your role in Star Wars. How do you feel about this?
That’s part of the course with the acting game. The greatest thing for the actors of my level, basically a supporting actor, occasionally played leading part but mainly a supporting actor. The main thing is to keep working and you balance a part of which you have a lot to do a film or TV series with something where you don’t, or occasionally you do it just because it pays the bills.
I feel no negativity whatsoever about playing a tiny part and the fact that it has been clearly so focal for so many people is a bonus. You know it’s funny and genuinely touching when people get in touch with me and say “I saw this when I was six and I’ve been a fan ever since”. But I had so little to do. You know if you went to make a cup of tea you’d miss me and they say it doesn’t matter and they’ll always remember that moment. That is quite heartwarming. It’s great to hear.
Earlier this year a Star Wars fan film was released which features your character as a kid. It’s a prequel, an origin story where we see how he meets the Rancor. Have you seen it?
I haven’t seen it. I didn’t know is existed.
I was asked at some point, but after I retired, if I would be up in one of these later films for doing another scene. But I’d retired by then and I thought it was pushing it One of the things you have to remember as an actor is to remain reasonably match fit. You know you have to be up for it. The element of tension in front of a camera or on stage that you can still do your best. I felt having already given it up for a few years. Going back to it would probably not be a good idea.
For which movie was that?
I don’t remember. I’m afraid because I wiped it immediately. All I know is I’ve been retired for 10 years and it was during that 10 years. It was just an inquiry it might not even have come up with a job but I think it might have done because they were moving into this other area and they were I think they wanted to have a bit of a prequel for the Rancor keeper. Maybe they did it with somebody else and I haven’t seen that film that’s possible but I didn’t think that they did it.
The short film I was referring to isn’t official. It’s a fan film. Do you keep up with Star Wars? The new movies, TV series?
I haven’t seen anything of the stuff on television but I think I’ve seen all the films at least once but not the newest one. But I will do because my son will make sure that I do.
You have attended conventions, signing photos and other memorabilia. What is your general feeling to signing things and meeting fans?
Well I haven’t done a lot. I did one, for a different organization. I did one years ago maybe twenty years ago or more which had a bit to do with Star Wars, a bit with James Bond and other productions that I’ve been in. I was offered to attend conventions occasionally but I was always working so I never felt I needed to do it. I thought whatever my current project was I was lucky enough to be doing that. That was what I should be concentrating on. Now being quite a long time retired Zack got in touch with me nearly two years ago and suggested doing one in Kentucky. I thought what the hell. I went and did it and it was thoroughly enjoyable and the three days were packed with people. Then I did one for him ten days ago in Telford. So this is really only my third.
Looking back at Return of the Jedi, what are your feelings towards it?
What can I say. From an acting point of view it wasn’t hugely stretching. But, when I look back I think I’m really lucky to have been part of this legend. I feel that particularly because of the reaction of people and the fact that this very tiny bit of the film is remembered by so many people and think of it fondly. I really like that and probably they think about that much more about that than they do about television or films where I’ve had a lot to do.
I saw the movie in 1983, I was seven at the time, and I still remember you!
(Laughs) Extraordinary. Thank you!
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