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Tag Archive: David Crossman


 

No one could have predicted when the original Star Wars won six of ten Academy Awards in 1978 that a new Star Wars film would be nominated 41 years later.  At the end of 2019 all will be known–with Episode IX to be released in December the entirety of George Lucas’s nine-part Star Wars saga will be complete.  Although the Skywalker family and its legacy is done, Disney and Lucasfilm will be sure that Star Wars is very far from over.  But expect this year to be full of nostalgic products looking back over the course of the four decades since we first saw the words, “A long time ago in a galaxy far, far, away…”  Two movie souvenir compilation books will take Star Wars fans across the film franchise.  Solo: A Star Wars Story Ultimate Guide presents interviews and photographs behind and in front of the camera from Ron Howard’s film.  And today Star Wars: The Saga Begins arrives in book stores, taking a rare look back at the Star Wars prequel trilogy.  We have previews of both books for you to check out below.

In Star Wars: The Saga Begins readers will find articles collected from Star Wars Insider, the magazine that has provided fans with the latest fandom and news since 1994.  In September 1997 with Issue #35, fans got their first glimpses at what would follow the original trilogy, as publisher and fan club president Dan Madsen provided updates in each issue with producer Rick McCallum.  Unfolding until 2005 and beyond, Star Wars Insider provided first looks at new prequel ships, characters, and locations.  Interviews explained what was happening behind the scenes of The Phantom Menace, Attack of the Clones, and Revenge of the Sith from the likes of director George Lucas, actors Liam Neeson, Ewan McGregor, Ian McDiarmid, Natalie Portman, Hayden Christensen, Temuera Morrison, Daniel Logan, Samuel L. Jackson, Anthony Daniels, and Brian Blessed, plus concept artists Ralph McQuarrie and Doug Chiang, composer John Williams, costume designer Trisha Biggar, sound designer Ben Burtt and many more.  Star Wars: The Saga Begins is packed with concept artwork and prototypes of creatures and props, plus storyboards and costume designs.  And it has hundreds of photographs.

A similarly designed look at Solo: A Star Wars Story can be found in Solo: A Star Wars Story Ultimate Guide Readers will find Star Wars Insider interviews and profiles from director Ron Howard, writers Lawrence and Jonathan Kasdan, actors Alden Ehrenreich, Joonas Suotamo, Emilia Clarke, Donald Glover, Woody Harrelson, Phoebe Waller-Bridge, Paul Bettany, Jon Favreau, and Thandie Newton, plus composer John Powell, creature maker Neal Scanlan, and costume designers David Crossman and Glyn Dillon.  The Ultimate Guide is full of good detail shots of the Millennium Falcon and sections featuring the newly designed Imperial armor and ships created for the film.

Here are previews from each book, courtesy of Titan:

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Last weekend San Diego Comic-Con spotlighted women costume designers and the creations of more than a dozen women designers created for actresses for some of the decade’s biggest genre films.  The Costume Designers Guild presented a panel Saturday featuring members Sanja Hays (costume designer, Captain Marvel, Star Trek: Beyond, Star Trek: Insurrection), Amanda Riley (costume designer, Supergirl, Agents of S.H.I.E.L.D.), and Laura Jean Shannon (costume designer, Iron Man, Titans, Black Lightning, Jumanji: Welcome to the Jungle) who provided highlights and anecdotes about their careers designing costumes for some of the most popular current and recent productions on television and in film.  A big high point for attendees was Hayes, whose new Captain Marvel costume will be the next benchmark in the Marvel Cinematic Universe, to be worn next year by Brie Larson in Captain Marvel–the first Marvel film with a woman in the title role.  Hayes commented that she found working on Marvel movies  different from past projects in that many details of design and even minor changes require extra levels of approval from Marvel’s continuity side.  Each of the designers stated they have arrived at a stage in their careers where they now have the power to cherry pick costumes to personally dive into from their projects and assign other production team members for the rest.  They also stressed the value of having close-knit and exceptional artists on their teams that can work together to meet the requirements of production.

   

At the giant Marvel Studios area on the convention floor, attendees could get up close to several key screen-used superheroine costumes from the past ten years, from Anna B. Sheppard‘s World War II Agent Carter uniform worn by Hayley Atwell from the beginning of the franchise to Evangeline Lilly‘s armor from The Wasp from this summer’s Ant-Man and The Wasp, created by Louise Frogley.  Eight other costumes bookended one side of the Marvel stage, including another four costumes opposite them in glass display cases–twelve heroines in all: Lupita Nyong’o‘s Nakia, Danai Gurira‘s Okoye, and Letitia Wright‘s Shuri costumes from Black Panther, created by Ruth E. Carter, Tessa Thompson‘s Valkyrie armor created by Mayes C. Rubeo for Thor: Ragnarok, Scarlett Johansson‘s Black Widow costume from Captain America: The Winter Soldier, Zoe Saldana‘s Gamora costume, Karen Gillan‘s Nebula costume, and Pom Klementieff‘s Mantis costume from Guardians of the Galaxy, Vol. 2, all created by Judianna Makovsky, Elizabeth Olsen‘s Scarlet Witch costume from Avengers: Age of Ultron, created by Alexandra Byrne, and Jaimie Alexander‘s Sif armor from Thor: The Dark World, created by Wendy Partridge.

A separate giant display elsewhere was created for Karl Urban‘s Skurge armor created by Mayes C. Rubio for Thor: Ragnarok.  DC Entertainment displayed Leah Butler‘s Shazam! costumes for Asher Angel‘s Billy Batson and his superhero alter ego, played by Zachary Levi.  And Lucasfilm presented David Crossman and Glyn Dillon‘s costumes from Solo: A Star Wars Story (a little more out of reach than the rest, posed high at the top of their exhibit), including screen-used costumes from Alden Ehrenreich‘s Han Solo, Joonas Soutomo‘s Chewbacca, Emilia Clarke‘s Qi’ra, Donald Glover‘s Lando, Erin Kellyman‘s Enfys Nest, and Paul Bettany‘s Dryden Vos.  And it wasn’t just about costumes, as many displays included the corresponding screen-used prop weaponry for the character.

Costume designers Laura Jean Shannon, Sanja Hays, and Amanda Riley at the costume designers panel at San Diego Comic-Con Saturday, July 21, 2018.

The following are photographs of all 22 costumes.  The lighting and glass displays limited the clarity of some of the images, and the Star Wars display was too high for our equipment to get any detail.  Yet some of the detail is better than you find in many behind the scenes books on the market today showing the costumes of DC, Marvel, or the Star Wars films–nothing beats seeing these close-up.  Take a look:

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Review by C.J. Bunce

It’s truly a rare summer when a new Star Wars movie is in theaters–the last time was in 2005 with the release of Revenge of the Sith.  As with the past three post-Disney acquisition Star Wars films, several publishers have released tie-in books for the latest Star Wars chapter, Solo: A Star Wars Story.  Some books provide fans with a behind-the-scenes tour, others provide novelized backstories, and still others provide an in-universe look at the story.  For a behind the scenes view you’ll want Abrams’ coverage of the concept art in The Art of Solo: A Star Wars Story (reviewed at borg.com here).  For an in-galaxy view of the characters and places, the book you’ll want to get your hands on is DK’s next chapter in their Star Wars book series, Solo: A Star Wars Story–The Official Guide, by Pablo Hidalgo.

The Official Guide is written like the magazines in the 1970s and 1980s that would follow on the heels of a blockbuster film, a “souvenir” type book that would highlight anything everything fans of the film would want to know more about.  The key feature of this full-color hardcover volume is the high-quality, detailed photographs, particularly of the characters, costumes, and props–perfect for cosplay reference.  It also includes some great detail in its several images of the re-imagined early Millennium Falcon.  Especially in a film of the Star Wars universe, where one of the trademarks is inclusion of enormous crowd scenes with varying peoples of different backgrounds, races, species–and names–moviegoers often miss most of the background characters.  When a costume can cost thousands of dollars to design and construct, it’d be a shame to simply leave the characters in the background.  So that’s where The Official Guide becomes a unique resource.

In no other book will you find all of these new characters from this latest Star Wars film.  They have names and backgrounds, and their cultural objects they carry say something about them.  But this is Star Wars, so you can expect to see the latest stormtrooper variant (like patrol trooper, fleet trooper, mudtrooper, and range trooper), as well as denizens of the most recent hives of scum and villainy (like the Grindalid Moloch, the Corellian Rebolt, shipping magnate Crev Bombaasa, and, hey, that’s Ron Howard’s brother Clint as Ralakili, running the droid fights).  A great two-page spread features the new many incarnations of mechanical fellows from Lucasfilm’s droid shop.

Here are some pages from the book, courtesy of the publisher:
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Review by C.J. Bunce

Fans of the original Star Wars trilogy and the new film Solo: A Star Wars Story should take note of the fourth installment of Abrams Books’ Star Wars artbook series.  The Art of Solo: A Star Wars Story by Phil Szostak not only looks behind the scenes of the production of the second of the modern anthology movies and fourth of the modern sequels, it reveals the finest and the most evocative Star Wars-styled concept art created since The Empire Strikes Back.  Taking a different path from the episodic sequels, the creators that imagined the look for Solo took their inspiration directly from the work of Ralph McQuarrie (original trilogy production illustrator and concept artist), Joe Johnston (original trilogy ILM art director), Harry Lange (original trilogy art director and set decorator), and Colin Cantwell (the first Star Wars spacecraft designer), concept artists behind the original Star Wars movie.  Including artwork both used for the final creation of sets, effects, and costumes, as well as imagery that didn’t make it to the final cut, The Art of Solo provides visuals fans back to the 1970s have only dreamed about.

Solo is also the first movie of the post-Disney period of Star Wars to draw back to the actual input from George Lucas for more than merely sketches and early descriptions of his earliest ideas from 1973.  Lucas was involved from the beginning, planning a Han Solo movie since before the Lucasfilm sale, and so this sequel has inspiration and concept direction from the creator of the franchise himself.  Lucasfilm/ILM lead concept designer James Clyne, production designer Neil Lamont, costume designers Glyn Dillon and David Crossman, Neal Scanlan‘s creature department, and Rob Bredow and Pat Tubach‘s visual effects team were aware of the unique challenge facing this film–creating something faithful to the original trilogy and beloved characters while also taking the look and feel of the space fantasy into new territory.  The result is a film full of different worlds that still feels “Star Wars-y,” as the designers call it.  For this film, that meant a Western homage mirroring the American journey of settlers from the East Coast to the West Coast, and also importing story elements found in Akira Kurosawa’s Westerns, among many other classic films.

Many of the portraits and landscape paintings are poster-worthy.  Earthbound physical locations were tracked down to define new worlds Corellia, Mimban, Vandor, Kessel, and Savareen, along with CGI renderings, all to look like they belong in the Star Wars galaxy.  As Star Wars was created in the 1970s–taking place ten years prior to the original Star Wars–the artists looked for styles and ideas from the 1960s via movies, bands, computers and technology, and other cultural influences for costumes and set decorations.  So before Emilia Clarke was cast as Qi’ra, images of the character needed to establish her locations and costumes included drawings that look very much like Grace Kelly.  Incorporating images of younger versions of both Harrison Ford and Billy Dee Williams were obvious choices for creating their first looks, like the duo at the gambling table where Lando would lose the Falcon to Solo.  But soon Alden Ehrenreich’s image became the face of Han Solo.  All along, Chewbacca was Chewbacca, only the crew aimed to convey a different view of the Wookiee, where having all his hairs styled in place was no longer important–this was the young, wind-blown companion from the past, the one quicker to tear someone’s arms off.

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