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Exclusief interview met Lorne Peterson (Industrial Light & Magic)

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Hij werkte aan de eerste zes Star Wars films, was één van de originele leden toen Industrial Light & Magic werd opgericht én won een Oscar voor Indiana Jones and the Temple of Doom. Ik heb het natuurlijk over special effects legende Lorne Peterson, die decennia lang aan de grootste films werkte: zo staan onder andere E.T., Ghostbusters en Jurassic Park op zijn c.v. Afgelopen december had ik tijdens de EchoBaseCon het volgende interview met hem.


You’re one of the first crewmembers of ILM in the 70’s. What was it like working there back then in Van Nuys?

I was only hired for two months and I knew a lot from industrial design. It was a wonderful experience; we all became friends. I was only twenty-nine years old the day I started, and a lot of us had gone to the same colleges. Some of us knew each other from one college or another and friends were brought together. So, it was it was very much like to be almost in college art department but with more money. Way more money.

You are also featured as Rebel in the Yavin 4 scene. What are your memories from the filming of these scenes?

Well, you know, that it wasn’t supposed to be me originally. There were just natives in Guatemala and one of them was going to be the tower. But he was too stiff. You know, he wasn’t a good actor. Not that I’m a great actor. (Laughs) I was of the three of us who went down to Guatemala the only one that didn’t have children. I wasn’t married, no children. So, I volunteered to work on the tower. You know, we only had three wires down now, and you have to stay really still for a while. Let it go so it wouldn’t go like this. (makes a waving gesture) I’d spend for hours and hours up there waiting for the sun to be just right, in the costume and with the helmet. It was a fun adventure. It was a little bit like Indiana Jones. We flew into Guatemala and then they put us on a military airplane, the DC-3. No pain at all. It had the seats and instead of sitting like this you sat against the side of the window. The seats were just made out of scraps of fabric, so there were bags of stuff on the inside. They were transported into the jungle. It was not a commercial flight, but it was a fun.

George Lucas had spent a lot of his budget on effects, but it took quite some time before ILM had produced an effect that was usable. I read that at one moment the pressure became really high. How did you experience this?

Yeah, it was very high. You know, when he came back from England, we’d hope that there were more of those special effects done than there were. The reason that a lot of it wasn’t done yet was we were still building the equipment, the cameras and the rudimentary computers that were used at the time. So they were actually built on the premises and so there were two shots that we did right at the beginning to show George that they were possible to do without going through a lot of optical processes and that was the detail of the gun firings, the large gun like this firing on the Death Star. And then the other one was the drop of the escape pod with R2-D2 and C-3PO. They showed me a sketch of it and they said I needed to make the model quick. So I made it in a week.

After the huge success of Star Wars, the expectations for the sequel, The Empire Strikes Back, must have been big. Was this the case and can you tell something about your experiences when ILM was suddenly becoming THE effects company?

Well, it was pretty unusual because we didn’t expect it to happen. There was no expectation that it would become a blockbuster. My partner and I and the people at ILM, we rented the equipment back from George Lucas and did Battlestar Galactica. George wasn’t really happy about that, doing a film that was a little bit similar to Star Wars. But we had to make money, but then Star Wars did make a lot of money. So then George Lucas asked six of us to move up north to start over again in an empty warehouse and so that’s what we did. We went up, there weren’t even walls inside the building. We laid out two by fours like where we wanted the rooms instead of doing a drawing. We just basically took a bunch of two by fours and made different rooms in the hallway and then had the carpenter start to build after that.

Ok, what is your favorite moment or memory regarding working on the Star Wars movies?

Yeah, well, that’s a little bit hard. There are so many memories over 40 some years. Like I said, I was only hired for two months and the reason I was stayed on longer was that because I work in industrial design, I knew of a material called Superglue. Now everybody can buy superglue but you could only get it industrially at the time. When I arrived, the first few days they were using a five-minute epoxy, which you had to keep mixing over and over again. So I took a pencil and I cantilevered it over the edge of the table, then put a little drop of superglue and then I moved my hand and it stayed there. Everyone asked how do you do that? I said, we have to get this stuff. It makes it much faster and stronger and better. So that’s the reason that they never said “well we only hired you for two months and you have to go”.

From the beginning you’ve worked closely with George Lucas. How would you describe him?

He’s maybe the contrast of Steven Spielberg. George is a really quiet, relatively quiet person and he certainly knows what he wants. But usually the set is set up that there isn’t as much activity. He’s concentrating on what exactly he wants. Spielberg is somebody who… activity can happen all around him and people with clipboards, telephones, telling you’re your mother or wife is calling. Do this, do that. And then he’s happy to do that. George Lucas is different. He would like more contemplating to himself what it should be.

How was it to work with Lucas?

Well, I use an example that when we were doing Empire, I had saved a bunch of questions for him about the models and he was coming to the model shop that day, so I wanted to ask him what he wanted on this model, what he wanted with that. I started asking the first question, and he stopped me. He said, well, that sounds like your job to me. It was like, that isn’t what he wants. You didn’t think of that as his job. He already hired me because he liked what I did and you do whatever you want. “I like whatever you want to show” is a real joy to work with. You didn’t feel he was micromanaging anything.

You have created a lot of models for the Star Wars movies. Which one stands out for you personally?

The Millennium Falcon was a real favorite because that was one of the first models I worked on. But then also Slave I because what had happened at that time, the model shop was getting bigger and bigger and I was having less time than I could actually put my hands on a model. When Slave I came along, I really liked the design of it. So I said, well, I’m going to split off and devote more of my personal time to working on it with two other people; Ease Owyoung and Samuel Zolltheis to do that particular model. I was really satisfied with the look of it.

Lorne Peterson en Ease Owyeung met het Slave I model.

Is there any model that when you look back, you’re thinking, well, I should have made different.

I never quite thought of it that way. Granted there are some ships that were in the distance, the fleet ships that were less important. It’s just like if it was going to be close to camera, I would have done more work on them. But they were far away from camera and it wasn’t as important.

You have been in the effects business for more than three decades. You have witnessed the evolution of effects, from models and stop-motion to CGI. What is your own opinion regarding this evolution and where will it go the next 10, 20 years?

I was very worried right at first and other people were worried that everybody kept hanging around and there were books like What color is your parachute or How to change your career? when CG first came along. But it didn’t work out that way. I mean, Dennis Muren said one time “I think the model shop has maybe two or three years left and that’s it”. That was 25 years ago so it actually worked really well. There was a real hand-in-glove relationship because they did opticals a lot better. They could combine images here and there seamlessly. Whereas in optical, it took a lot of work to get an almost perfect shot and the many times that bluescreen would show up around the edge and the mattes would show up, that kind of thing. So that worked really well. But it is true that CGI kept getting better and better. But it did kind of push the envelope even for the model shop, because the model shop, if you’re in the presentation they started doing bigger environmental models and with a lot of action involved in it. We were still doing really satisfying things. I’d say right now some films like Transformers are almost more just a cartoon. They don’t rely much on reality. But there are other films where they tried to be seamless, that it just doesn’t show at all. It’s pretty good. I still like the look of a model and a model shot, the atmosphere, the feeling that it’s actually there. Sometimes CG seems like a different world, that it just isn’t the same world that we live in. But it depends on how much time and money they spend on a shot.

What do you think of the effects of the new modern Star Wars movies?

I still would have preferred real shots with the Millennium Falcon. The one thing that stands out in my mind as the biggest problem for me was the red sand. Was that in The Last Jedi? Yeah. I just thought how could how could sand be white on the top and then red below? Normally things oxidize with air on the top. So it’s more likely that something underground when exposed to air would be rust red, but not red red. It looks like a cake. When the ships would fly over, I didn’t like that at all.

I think it was done for the dramatic effect.

Yeah, and also, I think it was a pity that they darkened the X-Wing because the way that we had made the X-Wings, we’d made them light so the oil drips, the aging and everything showed up on the light grey. When you make the model darker grey, it disappears. You don’t get to see all that kind of thing.

They look brand new.

Yes, they don’t need to look that way.

I prefer the old ones as well. So, there’s an incredible list of movies you have worked on. Star Wars, Indiana Jones. Which one is your favorite?

Oh, my God, I don’t know if I could pick one. One of the last ones I did was the series of Pirates of the Caribbean films and that was really satisfying to work on those ships were a lot of fun. But not every project was a lot of fun. Some of them had to be faster, late nights and all the tough and hard work to do, like the Executor. We did the Executor it had to be done in seven weeks and we just worked around the clock. We slept for five hours and then got back to work.

That was one of the biggest models.

I think, of that kind of models. Yeah, it was about three and a half meters long. Something like this. It had a lot of technical problems to solve like how do you cantilever something so narrow and thin out long and not have a droop and that kind of thing. It was made out of a honeycomb aluminum that they use in airplanes to the bulkheads and things like that. They’re very, very light, but strong and that’s how we made it.

It looks like a masterpiece.

I think we calculated that it had something like tens of thousands little lights that were etched into brows. We didn’t we didn’t have to make each hole. It was like a miniature neon behind these brass panels that have all these little holes etched through the brass.

Well, 200.000 might be too many, but I know it was like tens of thousands.

Regarding your work on Star Wars: how do you back at the movies and your time at ILM?

I sometimes describe to somebody it’s as if you walk around in the world and it’s a bubble that you walk with. I think I’ll probably be rotting in my grave and the people are still watching Star Wars, that kind of thing. Very few human beings ever get to experience something like that. It’s a body of work, of accomplishment that like travels with me all the time. So, it’s really an unusual experience.

Met dank aan de organisatoren van EchoBaseCon!


Meer unieke interviews vind je op: Star Wars Interviews

Geboren toen de opnames van A New Hope van start gingen. Voormalig assistent van Anthony Daniels. Auteur van de 'Star Wars Interviews' boekenreeks waarvoor hij 180+ cast en crewleden interviewde. Trots op zijn vermeldingen in de credits van de boeken The Making of Return of the Jedi, Stormtroopers: Beyond the Armor, The Star Wars Historical Sourcebook, The Star Wars Archives en Star Wars Icons: Han Solo.

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Interviews

Exclusief interview met Nick Stanner (Stunt performer – The Mandalorian)

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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!


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Exclusief interview met Jake Cannavale (Toro Calican)

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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.


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Interviews

Exclusief interview met Richard Stride (Poggle)

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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.


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Interviews

Exclusief interview met Paul Brooke (Rancor Keeper)

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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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