All Things Star Wars

[r16]

so , just to check how much ı need to watch , ı think ı could describe about 60 of the persons in the picture , not names but as a general idea . If that's the monster they picked up on Malastere it will be about 61 .

 

[Clubber Lang]

 

[Laurana Kanan]

https://twitter.com/x/status/1978139201787789669

 

[Patine]

https://twitter.com/x/status/1978139201787789669

Are we talking the version of, "the Thing," with Wilfried Brimley?

 

[Ordnael]

Isn't the original movie poster with Luke holding the saber high and Leia grabbing his thigh one of his creations. That poster is seared into my mind!

 

[Laurana Kanan]

Isn't the original movie poster with Luke holding the saber high and Leia grabbing his thigh one of his creations. That poster is seared into my mind!

I don't recall any where Leia is grabbing Luke's thigh.
Are you thinking of Jung's Style A?

Or, the Hildebrant's Style B?

 

[Ordnael]

I was probably making a little confusion with one of Conan's original movie poster, but yes it's Jung's I have on my mind, and thanks for the share!

 

[Laurana Kanan]

Understandable, considering Jung took inspiration from Franzetta when modeling Leia. Early sketch is pretty wild for the character.

 

[Clubber Lang]

^ I like that Luke/Leia drawing better then the other two versions, must of been sketched before Carrie was casted and rocked the space buns/star puffs.

Lucas wanted a more comicy book style -

Star Wars 1977 UK Quad Film Poster, Greg and Tim Hildebrandt​

On Request

One of the rarest Star Wars posters and considered the Holy Grail by many an avid collector, the original Hildebrandt British Quad film poster (also known as the Style B design).

In 1977 Greg and Tim Hildebrandt were approached by 20th Century Fox to produce a new poster design for the British release of Star Wars as, apparently, George Lucas wanted something more 'comic booky' than the Tom Jung design that was used on the initial US 1 sheet movie poster. Amazingly, on a very tight deadline the Hildebrandt Brothers produced the iconic design within 72 hours.

Star Wars was released in America in May 1977 and did not get released in the UK until December of the same year. By the time the film was released in the UK, the studio felt that the characters were already well known, and the Hildebrandt Brothers' artwork did not reflect this. Therefore they commissioned a completely new poster by Tom Chantrell (the Style C design). This incredibly rare original design - used mainly in London on the Underground a few months before the film's release - was then replaced by Chantrell's poster. As such, very few were initially produced and even fewer survived to this day.

A firm favourite with fans and more in keeping with the fantasy aspects of Lucas' space saga

Star Wars 1977 UK Quad Film Poster, Greg and Tim Hildebrandt

One of the rarest Star Wars posters and considered the Holy Grail by many an avid collector, the original Hildebrandt British Quad film poster (also known as the Style B design).In 1977 Greg and Tim Hildebrandt were approached by 20th Century Fox to produce a new poster design for the British...

www.orsonandwelles.co.uk

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Drew Struzan
R.i.P
(1947-2025)

Man was a wizard with the paint and brushes, his art blessed bedroom walls and video/dvd collections all over the world.

Remembering Drew Struzan

The prolific movie poster illustrator leaves behind a legacy of iconic film visuals from Star Wars to Indiana Jones and beyond.

www.lucasfilm.com

Star Wars creator George Lucas wrote in a statement on the Star Wars website: “Drew was an artist of the highest order. His illustrations fully captured the excitement, tone and spirit of each of my films his artwork represented. His creativity, through a single illustrated image, opened up a world full of life in vivid color… even at a glance. I was lucky to have worked with him time and time again.”

The admiration was mutual.

“George [Lucas] wanted to be an illustrator,” Struzan said in a 2014 interview with The Times. “He loves paintings. He wants to use illustrations because they reach the heart, whereas photographs just don’t do it for him. … I have worked with Steven Spielberg since ‘E.T.’ We are the same age … and we have gotten along the whole time. That’s part of it, being at the right place at the right time.”

Struzan was once dubbed the “one-sheet wonder,” a go-to artist for Steven Spielberg and George Lucas, who created the posters for films such as Indiana Jones and the Last Crusade, Risky Business, the special edition of Star Wars: The Empire Strikes Back, Back to the Future, The Goonies, The Thing and Harry Potter and the Sorcerer’s Stone.

The artist’s signature style was bold, dramatic and colorful. He never failed to capture a film’s tone perfectly, often focusing heavily on its characters — layering a sprawling ensemble cast into a single image was a Struzan specialty. Spielberg once called him “my favorite movie artist” and later added, “I had to almost live up to the art that we later were going to ask Drew to create for the poster.”

Michael J. Fox, who says he can hardly look at his watch without feeling he’s reenacting the signature image of Back to the Future.

Tributes -

Struzan’s official Instagram account announced the news Tuesday: “It is with a heavy heart that I must tell you that Drew Struzan has moved on from this world as of yesterday, October 13th. I feel it is important that you all know how many times he expressed to me the joy he felt knowing how much you appreciated his art.”

Reactions to Struzan’s passing began to pour in following the announcement. Spielberg wrote: “Drew made event art. His posters made many of our movies into destinations … and the memory of those movies and the age we were when we saw them always comes flashing back just by glancing at his iconic photorealistic imagery. In his own invented style, nobody drew like Drew.”

“A giant among giants,” artist and DC Comics president Jim Lee wrote in a comment on the post announcing Struzan’s death. “His work captured the humanity, power and emotion of his subjects in ways not seen since. Thank you for bringing to life all the tentpole moments of my childhood and beyond.”

Marvel artist J. Scott Campbell wrote: “Very heartbreaking to read this and to wrap my mind around the finality of it all, of an amazing man and the legacy of incredible work. He has left us all with so much beauty to enjoy for generations to come. I know the past few years have been especially difficult and I can only hope that this gives him and all of his loved ones some sense of peace.”

Guillermo del Toro posted, “The world lost a genial man, a genius communicator and supreme artist. I lost a friend — beloved Drew.”

At a tribute to Struzan in 2018, the artist himself said, “I’m thinking about my childhood and how I never had a birthday party, never had a good meal, everywhere I went, I worked my ass off. Nothing was ever given to me before, except by these lovely people” — referring to the directors who hired him over the years.

Struzan’s work was chronicled by director Erik Sharkey in the 2013 documentary Drew: The Man Behind the Poster.

When asked which poster was his favorite, he would reply: “If I had a favorite, then I would have already done the best I can do. I’d lose my spark of creativity. My favorite is always the very next one.”

Magic on paper -

“Daily he tended the flame reviewing the paintings of those he long admired. Van Gogh. Gauguin. Cézanne. The Impressionists who fought diligently against the status quo. It was our honor to nurture that glow. Please take a moment to reflect on what he brought to you. Life should be full of love and beauty.”

Article from 2015 -

Poster artist extraordinaire: Drew Struzan ~ the man who made us go to the movies​

Here’s some I drew earlier: Drew Struzan surrounded by a career’s worth of iconic film poster artwork

To put it simply, it’s arguably impossible not to recognise a Drew Struzan poster. Should you not do so, you’ve surely never visited a cinema, stepped into a video or DVD store, surfed the Internet or, frankly, held any interest in popular culture in the last 35 years. So ubiquitous is the man’s work. There’s no question his status as the movie poster maestro of the modern age is only challenged by the late, great Bob Peak (another artist to have been celebrated in such a post on this blog); otherwise, to paraphrase the tagline on the poster of James Bond movie For Your Eyes Only (1981), no-one comes close to Drew Struzan.

Born in 1947 into a poor family in Oregon City, yes, in the US state of Oregon, Struzan grew up drawing on anything he could get his hands on (apparently including toilet paper) before he enrolled at LA’s Art Centre College of Design at the age of 18. Following graduation, he barely carved out a living – with only $200-$250 a commission – with an ad agency producing the artwork for album covers for then prominent music artists, such as The Bee Gees, Roy Orbison, Earth, Wind & Fire and Alice Cooper.
Then in 1978, after making something of a name for himself churning out B-movie posters, he was approached by artist friend Charles White III to collaborate on a project the latter had been given by one George Lucas – creating a one-sheet for the re-release of Star Wars (1978), just a year after its debut in cinemas. The result saw the two artists create a poster (White focusing on the spacecraft and Struzan on the characters) that was both dynamic, memorable and distinct from the iconic images already created for the monster blockbuster.

And now Drew’s career truly took off. As the ’80s progressed, his idiosyncratic style – built, as it is, on an unusual airbrush-based approach – seemed to become the go-to look for poster art of Hollywood’s ever expanding sci-fi and family fantasy output, much of which was made up by or influenced by the barnstorming blockbusters of Lucas and Spielberg; and many of whose movies’ artwork was also created by our man Struzan.

Like I said at the top of this post, a Drew Struzan poster is instantly recognisable. That airbrushed background giving the thing a pleasingly smooth, almost glossy appearance, while the portraiture (although excellently detailed) tends to err on the comic book-esque. Most admirable of all, though (and probably the mark of the greatest poster artists), the composition of his works are always dynamic, often fantastical and usually unforgettable. Take for example, the awesome perspective conjured up by the cast of The Goonies (1985) desperately hanging on to each other’s ankles, or the irresistible iconoclasm of the principal players of the Back To The Future trilogy (1985-90) checking their watches in bemusement as they step out of the time-travelling DeLorean. Quite simply, nothing evokes Hollywood fantasy and/ or adventure like a Drew Struzan poster. It’s that simple.

As the 1980s slid into the ’90s and the art of the movie poster was ‘modernised’ like so many things by the computer, Struzan found himself in less demand; although he was still called on to produce a number of classic images for major movie promotions. Eventually, however, he moved on from film poster work for regular commissions from the comic book world, Franklin Mint collectible plates and US postage stamps. Finally, after a career of more than 35 years, he retired in 2008 following, fittingly, his efforts for that year’s Indiana Jones And The Kingdom Of The Crystal Skull. Two years later, the comprehensive coffee-table book The Art Of Drew Struzan (featuring reams of his extensive artwork for the publicity campaigns of so many movies) was published and in 2013 the documentary Drew: The Man Behind The Poster was released.

Rightly so, though, Drew didn’t bow out without a swipe at modern Hollywood’s reliance on digital imagery over the more imaginative, nay more inspiring hand-drawn approach to poster art, once writing in an email:

“I love the texture of paint made of colored earth, of oil from the trees and of canvas and paper. I love the expression of paint from a brush or a hand smearing charcoal, the dripping of paint and moisture of water, the smell of the materials. I delight in the changeable nature of a painting with new morning light or in the afternoon when the sun turns a painting orange or by firelight at night. I love to see it, hold it, touch it, smell it, and create it. My gift is to share my life by allowing others to see into my heart and spirit through such tangible, comprehensible and familiar means. The paint is part of the expression.”

So, here’s to the one, the only Drew Struzan – from Indy to Star Wars, The Muppets to The Goonies, Police Academy to Rambo and Hocus Pocus to Harry Potter, he was quite simply as integral a part of the magic of ’80s crowd-pleasing cinema as Harrison Ford, John Williams, ILM special effects and multiple, multiple sequels.

 

[Samson]

Starwars Unfolded <- Interactive version

I do not understand the amount of stuff between Andor and Rouge One, but I have not watched Rebels.

 

[Gori the Grey]

Hard to make use of. Bars don't give a strong sense of scale by overlapping in two directions from the baseline, and then shifting to "opaque" as their way of conveying information.

Looks like an intestine.

That would make 9 the anus.

 

[AdrienIer]

Andor and rebels are happening at the same time basically, in the last 5 years before the events of Rogue One.

 

[tjs282]

And you really only 'need' to watch Rebels if you want the backstory for the Ahsoka series.

 

[Samson]

The question is if it is worth watching? I started, and it felt child orientated and I did not continue, but I am considering giving it another go.

 

[AdrienIer]

I personally really like Rebels, it gets consistently good faster than Clone Wars. Season 2 is a must watch if you've watched CW, season 3 is really good and season 4 is amazing overall.

 

[Samson]

I personally really like Rebels, it gets consistently good faster than Clone Wars. Season 2 is a must watch if you've watched CW, season 3 is really good and season 4 is amazing overall.

Clone wars I felt much the same, I started but it felt to kid orientated to hold my interest.

 

[tjs282]

Rebels did feel more childish than TCW*, but it was still interesting (to me) in that it expanded the concept of Force-usage quite a bit beyond the OT and Prequels, but with Ezra's 'new' abilities still feeling more organic and consistent with the existing canon, and less... errmm.. forced by plot-requirements than e.g. some of the things that we saw Kylo and Rey doing in the Sequels.

The Acolyte initially looked a little like it was going to go that way as well, with the contrast between the Jedis' individualistic Force-use, and the Coven's collective use, but the writers didn't seem very interested in following through on that. And (I thought) that series was ultimately let down by the lead characters' bizarre heel-turns in the last couple of episodes.

*Based on how juvenile the trailers looked, I didn't even try Resistance.

 

[AnthonyBoscia]

where ewok adventure?

 

[Patine]

where ewok adventure?

Yes, both of them? And the '80's Ewoks and Droids cartoons? and the Holiday Special (a great watch, that I have a video rip from a VHS recording of)?

 

[tjs282]

Yes, both of them? And the '80's Ewoks and Droids cartoons?

I just checked, and these are all streaming on Disney+.

I remember quite enjoying the Ewoks+Droids cartoons when I was about 10. Though any pretense to canon that the Droids episodes might previously have claimed, was pretty much shot down by the Prequels.