1 00:00:01,639 --> 00:00:13,280 Speaker 1: I Heart three D Audio. Thank This special three D 2 00:00:13,360 --> 00:00:16,840 Speaker 1: episode is sponsored by Audible, Conjuring, The Devil Made Me 3 00:00:16,880 --> 00:00:21,040 Speaker 1: Do It, Ratedar, and World of Warcraft. This episode is 4 00:00:21,079 --> 00:00:23,720 Speaker 1: brought to you in My Heart three D Audio. For 5 00:00:23,920 --> 00:00:29,680 Speaker 1: maximum effect, headphones are recommended. Welcome to Stuff You Missed 6 00:00:29,680 --> 00:00:39,360 Speaker 1: in History Class, a production of I Heart Radio. Hello, 7 00:00:39,400 --> 00:00:42,120 Speaker 1: and welcome to the podcast. I'm Holly Fry and I'm 8 00:00:42,120 --> 00:00:45,239 Speaker 1: trade C. V. Wilson. Oh, this is a special one. 9 00:00:45,960 --> 00:00:48,360 Speaker 1: The person that we are talking about on today's show, 10 00:00:49,320 --> 00:00:51,960 Speaker 1: Uh could easily be said to have shifted and perhaps 11 00:00:52,000 --> 00:00:55,480 Speaker 1: even defined the cultural visual landscape of the late twentieth 12 00:00:55,560 --> 00:00:58,440 Speaker 1: century thanks to his work on Star Wars. And if 13 00:00:58,480 --> 00:01:01,440 Speaker 1: that sounds overblown or it seems like it's really only 14 00:01:01,480 --> 00:01:04,960 Speaker 1: about hardcore Star Wars fans, I would invite you to 15 00:01:05,000 --> 00:01:07,240 Speaker 1: think about the last time, for example, you shopped in 16 00:01:07,280 --> 00:01:10,560 Speaker 1: a big box store. There were probably Star Wars branded 17 00:01:10,560 --> 00:01:14,280 Speaker 1: housewears there, or clothing items, or even candy or toothpaste 18 00:01:14,319 --> 00:01:17,400 Speaker 1: on display. I also see those sorts of things at 19 00:01:17,400 --> 00:01:20,160 Speaker 1: the grocery store, and a lot of the imagery that 20 00:01:20,200 --> 00:01:23,319 Speaker 1: we think of us so identifiably Star Wars came from 21 00:01:23,319 --> 00:01:26,720 Speaker 1: the work of Ralph McQuary. He laid the groundwork for 22 00:01:26,760 --> 00:01:29,760 Speaker 1: the visual feel of the entire franchise through his work 23 00:01:29,800 --> 00:01:32,160 Speaker 1: that started in the late nineteen seventies, and he worked 24 00:01:32,160 --> 00:01:34,880 Speaker 1: on a lot of other films and provided some of 25 00:01:34,920 --> 00:01:37,959 Speaker 1: their most iconic imagery as well. So this is gonna 26 00:01:37,959 --> 00:01:40,440 Speaker 1: be a two parter, uh, because there's a lot of 27 00:01:40,560 --> 00:01:42,959 Speaker 1: art ground to cover, and we're going to talk about 28 00:01:43,120 --> 00:01:46,120 Speaker 1: the life and some of the work of Ralph McQuary. 29 00:01:46,560 --> 00:01:48,080 Speaker 1: There will be a lot of Star Wars. I'm not 30 00:01:48,080 --> 00:01:50,560 Speaker 1: gonna lie. But one of the wonderful things about his 31 00:01:50,640 --> 00:01:53,120 Speaker 1: life story too, is that he lived long enough to 32 00:01:53,160 --> 00:01:56,920 Speaker 1: see Star Wars become a cultural juggernaut, and as a consequence, 33 00:01:57,000 --> 00:02:02,280 Speaker 1: he was interviewed a lot, and he is extremely quotable. Uh. 34 00:02:02,320 --> 00:02:05,880 Speaker 1: He puts together wonderful turn of phrase sometimes in his 35 00:02:05,960 --> 00:02:09,280 Speaker 1: honesty and his humility about his work is really quite charming. 36 00:02:09,360 --> 00:02:12,040 Speaker 1: So we have the luxury of being able to reference 37 00:02:12,080 --> 00:02:15,400 Speaker 1: his own words throughout this particular story. And so in 38 00:02:15,400 --> 00:02:18,359 Speaker 1: this first episode, we're going to talk about mcquarie's early life, 39 00:02:18,400 --> 00:02:20,919 Speaker 1: which makes it very clear how he ended up being 40 00:02:20,960 --> 00:02:23,760 Speaker 1: the perfect person to work on Star Wars. Uh. We'll 41 00:02:23,800 --> 00:02:26,240 Speaker 1: talk about his work before Star Wars, and then how 42 00:02:26,280 --> 00:02:29,160 Speaker 1: he started collaborating with George Lucas, and then in the 43 00:02:29,200 --> 00:02:31,600 Speaker 1: second part we're going to cover his career in life 44 00:02:31,639 --> 00:02:34,800 Speaker 1: after the first Star Wars film came out. So let's 45 00:02:34,840 --> 00:02:38,799 Speaker 1: dive into part one. Ralph Angus mcquarie was born in Gary, 46 00:02:38,840 --> 00:02:43,880 Speaker 1: Indiana on June. When he was one, the family moved 47 00:02:43,880 --> 00:02:46,920 Speaker 1: to Billings, Montana, and they stayed there for nine years. 48 00:02:47,520 --> 00:02:50,480 Speaker 1: This was a move really to keep the family afloat 49 00:02:50,520 --> 00:02:53,680 Speaker 1: as the Great Depression began. They moved in with Ralph's 50 00:02:53,680 --> 00:02:57,000 Speaker 1: grandparents on their farm, and Ralph's mother was an artist. 51 00:02:57,120 --> 00:03:00,880 Speaker 1: She worked in pastel's and McQuary recall that in Billings 52 00:03:00,919 --> 00:03:03,760 Speaker 1: as a child, he started to get interested in art 53 00:03:03,800 --> 00:03:07,640 Speaker 1: because of that exposure. His grandfather was an engineer in 54 00:03:07,639 --> 00:03:11,160 Speaker 1: a brewery, but he also found ways to express himself artistically. 55 00:03:11,400 --> 00:03:14,960 Speaker 1: He published a regular poetry pamphlet and he illustrated that 56 00:03:15,000 --> 00:03:19,400 Speaker 1: pamphlet himself. His grandfather also painted in oils, so clearly 57 00:03:19,520 --> 00:03:23,240 Speaker 1: there is a familial proclivity for creativity at play. One 58 00:03:23,280 --> 00:03:25,320 Speaker 1: of the hobbies that Ralph picked up as a kid, 59 00:03:25,440 --> 00:03:28,359 Speaker 1: which really continued to occupy his free time for most 60 00:03:28,400 --> 00:03:32,239 Speaker 1: of his life, was building model airplanes. He recalled that 61 00:03:32,320 --> 00:03:35,760 Speaker 1: he became really fascinated with planes at around the age 62 00:03:35,760 --> 00:03:39,760 Speaker 1: of six, and that fascination never waned at all. This 63 00:03:39,960 --> 00:03:43,880 Speaker 1: attraction to plane design and the model building hobby really 64 00:03:43,920 --> 00:03:46,240 Speaker 1: clearly informed some of the work that he would later 65 00:03:46,320 --> 00:03:49,360 Speaker 1: become the most well known for. He later said in 66 00:03:49,400 --> 00:03:52,360 Speaker 1: an interview quote, I suppose there's a sort of glamour 67 00:03:52,480 --> 00:03:55,240 Speaker 1: about it. I've learned to know what war is about 68 00:03:55,360 --> 00:03:59,120 Speaker 1: in the interim, but the interest in airplanes kind of 69 00:03:59,200 --> 00:04:02,160 Speaker 1: hung on. Yeah, we'll talk about his exposure to war 70 00:04:02,200 --> 00:04:05,040 Speaker 1: in just a moment. But McQuary's father was a wood 71 00:04:05,040 --> 00:04:07,960 Speaker 1: pattern maker and during the depression his work fell off, 72 00:04:08,480 --> 00:04:11,720 Speaker 1: but as the war created more opportunities, he moved the 73 00:04:11,720 --> 00:04:15,480 Speaker 1: family first to Seattle in nineteen forty for better job 74 00:04:15,520 --> 00:04:18,280 Speaker 1: prospects than he could find in Billings, But it was 75 00:04:18,320 --> 00:04:20,960 Speaker 1: actually while they were visiting Vancouver that he found a 76 00:04:21,040 --> 00:04:23,359 Speaker 1: job in a shipyard, and so the family moved to 77 00:04:23,600 --> 00:04:27,480 Speaker 1: and stayed in Vancouver, British Columbia for the next eight years. 78 00:04:28,120 --> 00:04:31,479 Speaker 1: It was during that time, as McQuary entered his teenage years, 79 00:04:31,520 --> 00:04:34,599 Speaker 1: that he started to seriously consider art, not as a 80 00:04:34,680 --> 00:04:37,880 Speaker 1: hobby but as a career. He described looking at the 81 00:04:37,960 --> 00:04:42,839 Speaker 1: art and advertisements and thinking that or illustration could be 82 00:04:43,000 --> 00:04:47,360 Speaker 1: appealing job paths. Just as McQuary was finishing high school, 83 00:04:47,400 --> 00:04:49,920 Speaker 1: the family moved again to Seattle, and at that point 84 00:04:50,040 --> 00:04:53,080 Speaker 1: Ralph took a job in a bakery and uh, he 85 00:04:53,200 --> 00:04:55,279 Speaker 1: described in one interview like how he was, you know, 86 00:04:55,320 --> 00:04:59,360 Speaker 1: basically like putting in and removing bakery items to the ovens, 87 00:04:59,480 --> 00:05:02,640 Speaker 1: and that was not something he enjoyed. That job cemented 88 00:05:03,040 --> 00:05:05,440 Speaker 1: his thinking that art was really a much better choice 89 00:05:05,480 --> 00:05:08,640 Speaker 1: as a vocation. But he also knew that he needed 90 00:05:08,680 --> 00:05:11,279 Speaker 1: some additional training if he wanted to draw for a living, 91 00:05:11,520 --> 00:05:14,400 Speaker 1: and the y m c a was offering technical drawing classes, 92 00:05:14,440 --> 00:05:17,000 Speaker 1: so he enrolled. So he worked during the day and 93 00:05:17,040 --> 00:05:20,360 Speaker 1: then he took these drawing classes at night. After he finished, 94 00:05:20,400 --> 00:05:23,600 Speaker 1: he got his first art job with Boeing And this 95 00:05:23,920 --> 00:05:27,560 Speaker 1: maybe it wasn't the coolest art job. He was illustrating 96 00:05:27,560 --> 00:05:31,760 Speaker 1: a parts catalog. I used to write catalog copy, so 97 00:05:31,880 --> 00:05:37,279 Speaker 1: I feel an affinity there and like your creative interest 98 00:05:37,440 --> 00:05:40,840 Speaker 1: versus your job. But he made connections there with a 99 00:05:40,880 --> 00:05:43,520 Speaker 1: lot of other artists and continued to do his own 100 00:05:43,560 --> 00:05:46,560 Speaker 1: work at the same time. In the nineteen fifties. Ralph 101 00:05:46,640 --> 00:05:49,040 Speaker 1: served in the Army after he was drafted, and he 102 00:05:49,080 --> 00:05:52,440 Speaker 1: was deployed in the Korean War. He had initially thought 103 00:05:52,520 --> 00:05:54,960 Speaker 1: that because he was working in aerospace, he might get 104 00:05:54,960 --> 00:05:57,760 Speaker 1: a deferment, but that was not the case, and then 105 00:05:57,760 --> 00:06:00,240 Speaker 1: he thought he would primarily work as an engine near 106 00:06:00,320 --> 00:06:03,000 Speaker 1: in the army, which is how he started out. But 107 00:06:03,000 --> 00:06:05,479 Speaker 1: he got assigned to the seventh Cavalry Regiment and he 108 00:06:05,520 --> 00:06:09,040 Speaker 1: saw active combat. He later said that he never expected 109 00:06:09,040 --> 00:06:11,440 Speaker 1: to make it out alive, and he had many brushes 110 00:06:11,480 --> 00:06:14,960 Speaker 1: with death. He was shot during his service. He later 111 00:06:15,000 --> 00:06:17,520 Speaker 1: told a biographer, quote, I got hit in the side 112 00:06:17,520 --> 00:06:19,839 Speaker 1: of the head with a round from a Russian burp gun. 113 00:06:20,440 --> 00:06:22,760 Speaker 1: I felt this tremendous bang, and it spun me for 114 00:06:22,800 --> 00:06:26,520 Speaker 1: a second. It penetrated my helmet. A guy sat me 115 00:06:26,560 --> 00:06:29,080 Speaker 1: down and put a bandage on my head. I looked 116 00:06:29,080 --> 00:06:31,200 Speaker 1: down and found my helmet and put it back on. 117 00:06:31,920 --> 00:06:34,039 Speaker 1: For all I knew, it had lost its temper, but 118 00:06:34,120 --> 00:06:37,800 Speaker 1: it had saved my life. McCrory was discharged and went 119 00:06:37,839 --> 00:06:41,120 Speaker 1: back home, and he later described this feeling of being 120 00:06:41,200 --> 00:06:44,120 Speaker 1: quote embarrassed to be around for some reason, because he 121 00:06:44,160 --> 00:06:47,040 Speaker 1: had seen so many of his fellow soldiers die in combat. 122 00:06:47,640 --> 00:06:50,000 Speaker 1: This put a pause on his art career, but it 123 00:06:50,080 --> 00:06:53,000 Speaker 1: also enabled him to move it forward because once he 124 00:06:53,080 --> 00:06:55,320 Speaker 1: got back to the States, he was able to enroll 125 00:06:55,480 --> 00:06:58,080 Speaker 1: at Art Center College of Design in California on a 126 00:06:58,160 --> 00:07:01,440 Speaker 1: g I bill, And at that point he wasn't entirely 127 00:07:01,480 --> 00:07:04,720 Speaker 1: sure what direction he wanted his art career to go in. 128 00:07:05,000 --> 00:07:09,320 Speaker 1: He considered working in advertising, or illustration or industrial design, 129 00:07:10,000 --> 00:07:13,320 Speaker 1: but then he decided that commercial art wasn't really the 130 00:07:13,440 --> 00:07:15,760 Speaker 1: right fit for him. It felt a little too much 131 00:07:15,800 --> 00:07:19,000 Speaker 1: like being a salesman, so he quit Art Center and 132 00:07:19,040 --> 00:07:22,120 Speaker 1: he went back to technical illustration. He worked for a 133 00:07:22,160 --> 00:07:25,360 Speaker 1: while for the defense contractor Litton Industries, that was from 134 00:07:25,440 --> 00:07:29,240 Speaker 1: nineteen sixty to nineteen sixty two, drawing guidance and control equipment, 135 00:07:29,320 --> 00:07:32,400 Speaker 1: among other things, but eventually he went back to Boeing. 136 00:07:33,120 --> 00:07:35,120 Speaker 1: He worked on images while he was there that were 137 00:07:35,200 --> 00:07:39,280 Speaker 1: used in Pentagon proposals and brochure's about Boeing's various projects, 138 00:07:39,680 --> 00:07:42,240 Speaker 1: and he also got a little bit into film because 139 00:07:42,240 --> 00:07:45,040 Speaker 1: he started storyboarding some of the internal films that the 140 00:07:45,040 --> 00:07:48,840 Speaker 1: company was making for presentations. After a while, though, his 141 00:07:48,920 --> 00:07:52,400 Speaker 1: work for Boeing felt less and less fulfilling, although his 142 00:07:52,480 --> 00:07:56,320 Speaker 1: work there was spectacular. For example, when you look at 143 00:07:56,320 --> 00:08:00,680 Speaker 1: his illustration of Boeing's Model seven thirty three supersonic transport 144 00:08:00,760 --> 00:08:05,040 Speaker 1: concept gliding above a lower altitude jet in the land below, 145 00:08:05,080 --> 00:08:08,400 Speaker 1: that it really looks almost like a photograph. But there 146 00:08:08,480 --> 00:08:11,680 Speaker 1: wasn't enough variety in the work. The hours are also 147 00:08:11,760 --> 00:08:15,960 Speaker 1: really long. He later joked, quote rows of windows, that's 148 00:08:16,000 --> 00:08:19,240 Speaker 1: what got me. This boredom may have been rooted in 149 00:08:19,280 --> 00:08:22,400 Speaker 1: a more romantic idea of his art as well, and 150 00:08:22,440 --> 00:08:25,040 Speaker 1: he later said in an interview quote, I've always had 151 00:08:25,040 --> 00:08:27,960 Speaker 1: sort of a dream world approach to sitting and sketching 152 00:08:28,000 --> 00:08:31,600 Speaker 1: for myself. I go for the romantic and what looks interesting, 153 00:08:31,680 --> 00:08:35,640 Speaker 1: while half my mind is occupied with practicality. So he 154 00:08:35,760 --> 00:08:39,200 Speaker 1: decided to move back to Los Angeles in in the 155 00:08:39,240 --> 00:08:41,840 Speaker 1: hope of finding more fulfilling work in the art field, 156 00:08:42,360 --> 00:08:44,800 Speaker 1: and he and two fellow artists started a studio together 157 00:08:44,880 --> 00:08:47,520 Speaker 1: called three Real Studio, and they took what they could 158 00:08:47,559 --> 00:08:50,920 Speaker 1: get in terms of contract jobs. For a while. McQuary 159 00:08:51,000 --> 00:08:54,680 Speaker 1: even drew detailed illustrations of teeth and dental tools for 160 00:08:54,720 --> 00:08:57,320 Speaker 1: a dental firm. And it was after this move to 161 00:08:57,440 --> 00:08:59,880 Speaker 1: l A that the connection started that would lead Ralph 162 00:09:00,000 --> 00:09:01,920 Speaker 1: to his most well known work, and we're going to 163 00:09:02,000 --> 00:09:11,360 Speaker 1: talk about that after we first paused for a sponsor break. 164 00:09:12,720 --> 00:09:15,800 Speaker 1: It was while working in Los Angeles that McQuary got 165 00:09:15,800 --> 00:09:18,400 Speaker 1: a call to work on a movie, but not the 166 00:09:18,480 --> 00:09:22,400 Speaker 1: kind of movie most often associated with Hollywood. As NASA's 167 00:09:22,400 --> 00:09:25,760 Speaker 1: Apollo program was building up, they wanted to create coverage 168 00:09:25,800 --> 00:09:28,840 Speaker 1: of the process for CBS News special events, and as 169 00:09:28,920 --> 00:09:31,679 Speaker 1: McQuary put it, quote, they were looking for someone who 170 00:09:31,679 --> 00:09:34,160 Speaker 1: could do an accurate painting of a rocket ship. You know, 171 00:09:34,880 --> 00:09:37,600 Speaker 1: Ralph was the perfect choice for this project. He could 172 00:09:37,720 --> 00:09:41,120 Speaker 1: indeed draw rocket ships, and he also had worked on 173 00:09:41,160 --> 00:09:44,560 Speaker 1: a number of short film projects with Boeing already, so 174 00:09:44,640 --> 00:09:48,920 Speaker 1: he understood how a technical artist fit into production. He 175 00:09:49,000 --> 00:09:51,640 Speaker 1: ended up working for a number of years with NASA 176 00:09:51,720 --> 00:09:56,400 Speaker 1: and CBS storyboarding out animation sequences for short films that 177 00:09:56,440 --> 00:10:00,320 Speaker 1: showed the various trajectories and workings of the Apollo space raft. 178 00:10:00,679 --> 00:10:03,720 Speaker 1: He also took a job for a while at Encyclopedia Britannica. 179 00:10:03,920 --> 00:10:06,440 Speaker 1: He was working on a film about time for them 180 00:10:06,840 --> 00:10:10,840 Speaker 1: when they hosted a screening of th h X that 181 00:10:10,920 --> 00:10:14,439 Speaker 1: was George Lucas's student film version well before he made 182 00:10:14,480 --> 00:10:17,040 Speaker 1: the full length version of it with Robert Duval, and 183 00:10:17,160 --> 00:10:20,400 Speaker 1: mcquarie said that his reaction to this was, quote, that's 184 00:10:20,400 --> 00:10:23,760 Speaker 1: a really wonderfully good student film. I didn't really know 185 00:10:23,880 --> 00:10:26,120 Speaker 1: much about student films at the time, but it struck 186 00:10:26,120 --> 00:10:30,319 Speaker 1: me as really wonderful and excellent. But he didn't know 187 00:10:30,600 --> 00:10:33,440 Speaker 1: or meet or collaborate with Lucas until several years later. 188 00:10:34,080 --> 00:10:38,239 Speaker 1: He also started illustrating movie posters in the early nineteen seventies. 189 00:10:38,679 --> 00:10:40,920 Speaker 1: The first was a poster for a film called The 190 00:10:41,040 --> 00:10:43,760 Speaker 1: Legend of Boggy Creek, and Ralph's art for it was 191 00:10:43,800 --> 00:10:46,680 Speaker 1: a departure from the technical work that dominated his career 192 00:10:46,760 --> 00:10:49,760 Speaker 1: up to that point. This shows a humanoid monster covered 193 00:10:49,760 --> 00:10:53,440 Speaker 1: in for trapesing through shallow water, with a dark and 194 00:10:53,600 --> 00:10:57,440 Speaker 1: moody background of trees and the sun on the horizon, 195 00:10:57,559 --> 00:11:02,120 Speaker 1: creating dramatic silhouettes and contrast throughout the scene. After that, 196 00:11:02,200 --> 00:11:05,840 Speaker 1: he had a fairly steady stream of movie poster jobs. Yeah, 197 00:11:05,840 --> 00:11:09,040 Speaker 1: I feel like when you read about his career, and 198 00:11:09,080 --> 00:11:11,280 Speaker 1: we'll talk about this some more, but like he was 199 00:11:11,320 --> 00:11:15,800 Speaker 1: always hustling, like multiple projects at a time, in part, 200 00:11:15,880 --> 00:11:17,560 Speaker 1: I think because he was rather fast and he was 201 00:11:17,600 --> 00:11:20,880 Speaker 1: able to do so, but early in the nineteen seventies, 202 00:11:20,920 --> 00:11:24,080 Speaker 1: two screenwriters reached out to Ralph for some assistance, and 203 00:11:24,120 --> 00:11:27,280 Speaker 1: through them, his life took a significant turn. Although this 204 00:11:27,320 --> 00:11:30,520 Speaker 1: may not be who you're expecting, it's Hal Barwood and 205 00:11:30,559 --> 00:11:34,480 Speaker 1: Matthew Robbins who had created a screenplay called Star Dancing, 206 00:11:34,679 --> 00:11:36,839 Speaker 1: and they were trying to get financing for that movie, 207 00:11:36,880 --> 00:11:40,480 Speaker 1: but they needed visuals to show potential investors to get 208 00:11:40,520 --> 00:11:43,320 Speaker 1: their ideas across, and Ralph was who they got to 209 00:11:43,400 --> 00:11:47,560 Speaker 1: create those visuals. So if the title Star Dancing isn't 210 00:11:47,640 --> 00:11:51,439 Speaker 1: ringing any bells, it's because this didn't work. Even though 211 00:11:51,440 --> 00:11:54,000 Speaker 1: by Ralph's account they all had a great time working together, 212 00:11:54,080 --> 00:11:57,920 Speaker 1: the picture just never got made. Barwood and Robbins continued 213 00:11:57,960 --> 00:12:01,200 Speaker 1: to work together and eventually wrote Dry Gagin, Slayer and MacArthur, 214 00:12:01,280 --> 00:12:05,320 Speaker 1: and other films that did get finance for production. Robbins 215 00:12:05,400 --> 00:12:09,560 Speaker 1: also collaborated later with Guerro del Toro on Crimson Peak, 216 00:12:10,040 --> 00:12:13,080 Speaker 1: and prior to this project, McQuary didn't really think about 217 00:12:13,160 --> 00:12:16,760 Speaker 1: science fiction as an avenue for his work, later saying 218 00:12:16,840 --> 00:12:19,560 Speaker 1: of his time on the Star Dancing project quote, I'd 219 00:12:19,600 --> 00:12:22,880 Speaker 1: worked for Boeing and was in love with airplanes and spacecraft, 220 00:12:22,960 --> 00:12:25,960 Speaker 1: and I had an interest in fantasy architecture. Although I 221 00:12:26,000 --> 00:12:28,920 Speaker 1: hadn't thought about doing much in science fiction, but I 222 00:12:29,080 --> 00:12:31,800 Speaker 1: enjoyed working with Hollan Matt so much on their science 223 00:12:31,840 --> 00:12:34,360 Speaker 1: fiction film. I felt like that was really the place 224 00:12:34,400 --> 00:12:37,120 Speaker 1: I should be. I had found what I should be doing. 225 00:12:37,720 --> 00:12:41,200 Speaker 1: The important connection here was that how Barwood was friends 226 00:12:41,200 --> 00:12:44,840 Speaker 1: with George Lucas, and Lucas saw the artwork that mcquarie 227 00:12:44,880 --> 00:12:47,680 Speaker 1: had created for the Star Dancing Pitch and actually really 228 00:12:47,720 --> 00:12:50,120 Speaker 1: liked it. So when it came time for him to 229 00:12:50,200 --> 00:12:53,440 Speaker 1: similarly try to convey his ideas for Star Wars, it 230 00:12:53,559 --> 00:12:57,000 Speaker 1: was Ralph that he wanted. But not long after they met, 231 00:12:57,160 --> 00:12:59,679 Speaker 1: Lucas got to work on American Graffiti, which came out 232 00:12:59,679 --> 00:13:02,640 Speaker 1: at Night teen seventy three, and mcquarie kind of thought 233 00:13:02,679 --> 00:13:05,800 Speaker 1: that the science fiction fantasy project that they had discussed 234 00:13:05,800 --> 00:13:09,080 Speaker 1: had just been abandoned. He once told a biographer that 235 00:13:09,080 --> 00:13:12,080 Speaker 1: George Lucas quote came by my house one evening. He 236 00:13:12,160 --> 00:13:15,960 Speaker 1: talked about his idea for a galactic war picture, Intergalactic War. 237 00:13:16,320 --> 00:13:19,320 Speaker 1: He said it would involve all aspects of Flash Gordon, 238 00:13:19,760 --> 00:13:21,960 Speaker 1: but done in a sort of two thousand one manner 239 00:13:22,080 --> 00:13:25,360 Speaker 1: with real high fidelity effects, and I thought, gee, that 240 00:13:25,440 --> 00:13:28,640 Speaker 1: sounds ambitious, you know, And we said goodbye, and I 241 00:13:28,760 --> 00:13:32,160 Speaker 1: never expected to see him again. Obviously, that was not 242 00:13:32,280 --> 00:13:36,440 Speaker 1: the case. In nineteen seventy five, Lucas once again reached 243 00:13:36,480 --> 00:13:40,280 Speaker 1: out to continue their discussion, as did Gary Kurtz, who 244 00:13:40,320 --> 00:13:44,280 Speaker 1: was Lucas's producing partner at the time. The usual story 245 00:13:44,400 --> 00:13:47,679 Speaker 1: goes that even though American Graffiti had been a success 246 00:13:48,080 --> 00:13:50,680 Speaker 1: and Lucas was seen by many in Hollywood as a 247 00:13:50,720 --> 00:13:54,440 Speaker 1: young visionary, he still found that he couldn't count on 248 00:13:54,520 --> 00:13:57,400 Speaker 1: studio execs to just envision the things that he was 249 00:13:57,440 --> 00:14:00,880 Speaker 1: describing in his Space opera project. But there's a little 250 00:14:00,880 --> 00:14:04,480 Speaker 1: bit of a myth or confusion here. Alan Ladd Jr. 251 00:14:04,640 --> 00:14:07,679 Speaker 1: At twentieth Century Fox was already on board for the 252 00:14:07,720 --> 00:14:11,400 Speaker 1: film for about a year when Lucas regrouped with the illustrator. 253 00:14:12,120 --> 00:14:15,320 Speaker 1: The reality was that, according to Kurtz quote, the script 254 00:14:15,440 --> 00:14:18,079 Speaker 1: was not easy to read, so we knew we needed 255 00:14:18,160 --> 00:14:21,560 Speaker 1: artwork to show the crew. McQuary's work was a little 256 00:14:21,600 --> 00:14:24,880 Speaker 1: like a roadmap, something tangible that Lucas and Kurt's could 257 00:14:24,880 --> 00:14:28,160 Speaker 1: share with their collaborators to let them see exactly where 258 00:14:28,160 --> 00:14:31,400 Speaker 1: they wanted the film to go. Ralph described his next 259 00:14:31,440 --> 00:14:34,760 Speaker 1: meeting with Lucas in an interview years later, quote, Gary 260 00:14:34,840 --> 00:14:37,200 Speaker 1: Kurtz and George stopped by with the script and we 261 00:14:37,320 --> 00:14:40,080 Speaker 1: arranged right there, in a twenty minute meeting what I 262 00:14:40,160 --> 00:14:41,880 Speaker 1: was going to get paid and what I was going 263 00:14:41,960 --> 00:14:45,480 Speaker 1: to do. They wanted four or five paintings, so they said, 264 00:14:45,520 --> 00:14:47,880 Speaker 1: just read it and find some things I thought would 265 00:14:47,880 --> 00:14:50,920 Speaker 1: be good to illustrate. I learned that one of George's 266 00:14:50,960 --> 00:14:53,400 Speaker 1: good traits is that he doesn't swamp you with tons 267 00:14:53,440 --> 00:14:56,480 Speaker 1: of pep talk. His first script was quite thorough, but 268 00:14:56,560 --> 00:14:59,640 Speaker 1: he doesn't hang over your shoulder. And another account of 269 00:14:59,640 --> 00:15:02,440 Speaker 1: the story, A mcquarie confirmed again that Lucas gave him 270 00:15:02,480 --> 00:15:06,160 Speaker 1: a lot of freedom and those early conceptual pieces. He 271 00:15:06,240 --> 00:15:08,600 Speaker 1: once said, quote, George gave me a script and I 272 00:15:08,640 --> 00:15:11,920 Speaker 1: went away for a while. He said, do what interests you. 273 00:15:12,360 --> 00:15:15,040 Speaker 1: It was like hearing music and seeing what you hear. 274 00:15:16,000 --> 00:15:19,120 Speaker 1: In a later interview, he described the freedom of this 275 00:15:19,360 --> 00:15:23,600 Speaker 1: unfettered creative process as quote a special opportunity to start 276 00:15:23,640 --> 00:15:27,160 Speaker 1: from the ground up, being able to create new characters, 277 00:15:27,320 --> 00:15:30,920 Speaker 1: vehicles and different worlds. And since when I started it 278 00:15:31,000 --> 00:15:33,600 Speaker 1: wasn't even clear that the film would be made. I 279 00:15:33,640 --> 00:15:37,200 Speaker 1: didn't have to limit myself. McQuary did a lot of 280 00:15:37,280 --> 00:15:40,680 Speaker 1: quick little sketches based on the script. He described himself 281 00:15:40,720 --> 00:15:43,440 Speaker 1: as a person who sees things as he reads, and 282 00:15:43,480 --> 00:15:46,280 Speaker 1: the script Lucas gave him, which had the working title 283 00:15:46,320 --> 00:15:49,600 Speaker 1: at the time, Adventures of the Star Killer, had, in 284 00:15:49,640 --> 00:15:53,520 Speaker 1: the artist words quote boodles of chances to invent interesting 285 00:15:53,560 --> 00:15:57,440 Speaker 1: objects and characters. And he started showing those little thumbnail 286 00:15:57,480 --> 00:16:00,520 Speaker 1: sketches to Lucas and Kurt's very early on to confer 287 00:16:00,640 --> 00:16:04,120 Speaker 1: on what was right, what needed tweaking, et cetera, before 288 00:16:04,160 --> 00:16:08,000 Speaker 1: he moved to the more intensive paintings. Lucas was also 289 00:16:08,040 --> 00:16:11,920 Speaker 1: sharing with mcquarie the concept designs of another artist, Colin Cantwell, 290 00:16:12,000 --> 00:16:15,000 Speaker 1: who was working on ships and vehicles to the film. 291 00:16:15,160 --> 00:16:18,400 Speaker 1: Can't Well and mcquarie compared notes often, and as Ralph 292 00:16:18,400 --> 00:16:22,080 Speaker 1: incorporated the ship designs into his paintings, he would sometimes 293 00:16:22,120 --> 00:16:25,960 Speaker 1: go back and update the paintings As can't Well's work evolved. 294 00:16:26,360 --> 00:16:29,120 Speaker 1: He turned in his first Star Wars concept piece in 295 00:16:30,560 --> 00:16:33,000 Speaker 1: it was of the two now famous droids R two, 296 00:16:33,040 --> 00:16:35,240 Speaker 1: D two and C three po. Although they looked a 297 00:16:35,240 --> 00:16:39,240 Speaker 1: bit different than Ralph described his decision to start with 298 00:16:39,280 --> 00:16:42,480 Speaker 1: this image quote. I read the script early on, and 299 00:16:42,480 --> 00:16:44,680 Speaker 1: there was an occasion in the script for R two 300 00:16:44,720 --> 00:16:47,120 Speaker 1: D two and C three PO to eject from a 301 00:16:47,240 --> 00:16:51,840 Speaker 1: spacecraft and land in a pod on this desert planet tattooing. 302 00:16:52,680 --> 00:16:54,880 Speaker 1: I chose that as a moment in the film as 303 00:16:54,920 --> 00:16:57,600 Speaker 1: an interesting way to show our two D two and 304 00:16:57,720 --> 00:17:01,040 Speaker 1: C three PO. I put those three things together, made 305 00:17:01,040 --> 00:17:03,480 Speaker 1: a drawing, and made the painting at about two days 306 00:17:03,560 --> 00:17:07,040 Speaker 1: all total. That was the first painting for Star Wars. 307 00:17:07,480 --> 00:17:10,399 Speaker 1: That's one of those moments where you realize when he 308 00:17:10,560 --> 00:17:12,440 Speaker 1: says all of this took him two days, like he's 309 00:17:12,480 --> 00:17:16,359 Speaker 1: operating on another level. It's a whole lot of painting 310 00:17:16,359 --> 00:17:18,960 Speaker 1: to churn out in two days. Coming up, we're going 311 00:17:19,040 --> 00:17:22,920 Speaker 1: to talk about how Ralph's art created instantly recognizable imagery 312 00:17:22,960 --> 00:17:24,960 Speaker 1: for the film. But first we will take a quick 313 00:17:24,960 --> 00:17:27,040 Speaker 1: break to hear from the sponsors that keep stuff you 314 00:17:27,080 --> 00:17:37,560 Speaker 1: missed in history class going. You can see in those 315 00:17:37,600 --> 00:17:41,080 Speaker 1: early production paintings that this first painting of our two 316 00:17:41,080 --> 00:17:44,760 Speaker 1: and C three p O is where Ralph unknowingly changed 317 00:17:44,800 --> 00:17:46,919 Speaker 1: culture forever. And when you look at any of the 318 00:17:46,960 --> 00:17:50,119 Speaker 1: early illustrations he did for the movie. It's clearly his 319 00:17:50,320 --> 00:17:53,359 Speaker 1: hand that brought imagery into the world that we are 320 00:17:53,400 --> 00:17:57,040 Speaker 1: all very familiar with today. Even if you have never 321 00:17:57,080 --> 00:18:00,399 Speaker 1: seen a Star War, it is a safe bet that 322 00:18:00,480 --> 00:18:03,200 Speaker 1: you know what an Imperial stormtrooper looks like, and that 323 00:18:03,320 --> 00:18:05,720 Speaker 1: you could identify ARE two and C three p O 324 00:18:05,800 --> 00:18:09,159 Speaker 1: pretty easily, and that you would never not recognize an 325 00:18:09,160 --> 00:18:11,960 Speaker 1: image of Darth Vader if you saw it. Part of 326 00:18:12,000 --> 00:18:15,159 Speaker 1: what makes these images so compelling is how much they 327 00:18:15,280 --> 00:18:19,200 Speaker 1: draw the viewer in what's obvious and has been commented 328 00:18:19,240 --> 00:18:22,600 Speaker 1: on by numerous prominent artists since then, is how much 329 00:18:22,720 --> 00:18:27,200 Speaker 1: movement and tone and intensity is captured in these pieces. 330 00:18:27,920 --> 00:18:31,560 Speaker 1: They don't feel like static drawings, but cinematic scenes that 331 00:18:31,640 --> 00:18:34,159 Speaker 1: look almost as though you might have pulled a frame 332 00:18:34,240 --> 00:18:38,440 Speaker 1: from a film. He illustrated Vader in a defensive posture, 333 00:18:38,520 --> 00:18:41,360 Speaker 1: holding his lightsaber in front of him, while the protagonist, 334 00:18:41,560 --> 00:18:44,760 Speaker 1: then known as Star Killer holds asaber in the right 335 00:18:44,800 --> 00:18:48,280 Speaker 1: hand that has either finished a swing or as preparing 336 00:18:48,280 --> 00:18:51,760 Speaker 1: for one. The two are in a sterile looking hallway 337 00:18:51,880 --> 00:18:54,000 Speaker 1: that appears to be part of a spaceship, with light 338 00:18:54,080 --> 00:18:56,840 Speaker 1: spilling into the scene from a corridor just behind and 339 00:18:56,880 --> 00:18:59,240 Speaker 1: to the left of the action from the viewer's perspective. 340 00:19:00,119 --> 00:19:04,040 Speaker 1: If you compare this image to the finished film, becomes 341 00:19:04,040 --> 00:19:07,800 Speaker 1: apparent that the hallways of Leah's ship the Tantivy for 342 00:19:08,119 --> 00:19:13,600 Speaker 1: almost exact recreations of this painting setting. And his image 343 00:19:13,600 --> 00:19:16,000 Speaker 1: of the droids out in the desert that we mentioned 344 00:19:16,080 --> 00:19:20,119 Speaker 1: shows the little astromach R two with his manipulator arms extended, 345 00:19:20,720 --> 00:19:23,159 Speaker 1: looking as though he is trying to plead with his 346 00:19:23,240 --> 00:19:27,359 Speaker 1: Protocol droid counterpart. From the background, an escape pod is 347 00:19:27,400 --> 00:19:30,639 Speaker 1: shown in the far background, its cargo doors popped open 348 00:19:31,000 --> 00:19:33,919 Speaker 1: as it sits on its side in the sand. A 349 00:19:34,080 --> 00:19:36,960 Speaker 1: huge rock formation looms in the far distance, and the 350 00:19:37,160 --> 00:19:42,040 Speaker 1: entire vista just feels huge. Despite being bright, The empty 351 00:19:42,080 --> 00:19:45,240 Speaker 1: expanse of this scene also has a sense of danger 352 00:19:45,480 --> 00:19:50,760 Speaker 1: and even loneliness. Incidentally, actor Anthony Daniels has long told 353 00:19:50,760 --> 00:19:53,520 Speaker 1: the story that it was Ralph's art that convinced him 354 00:19:53,560 --> 00:19:55,960 Speaker 1: to take the part of C three po which he 355 00:19:56,000 --> 00:19:59,879 Speaker 1: originally wanted to turn down. The Protocol droid, which at 356 00:20:00,000 --> 00:20:04,879 Speaker 1: a stage resembled the robot from the film Metropolis, gazes 357 00:20:04,960 --> 00:20:08,840 Speaker 1: directly at the viewer. The expression manages to be static 358 00:20:08,880 --> 00:20:12,520 Speaker 1: and expressive all at once, something that spoke to Daniels 359 00:20:12,520 --> 00:20:15,480 Speaker 1: and made him really connect with the character. And much 360 00:20:15,600 --> 00:20:18,560 Speaker 1: of that art that was created was driven by the 361 00:20:18,560 --> 00:20:23,080 Speaker 1: practicality that McQuary had developed as a technical illustrator. In 362 00:20:23,119 --> 00:20:25,480 Speaker 1: his words, the design of Darth Vader was really one 363 00:20:25,520 --> 00:20:28,399 Speaker 1: that started with thinking about how a human could survive 364 00:20:28,440 --> 00:20:31,760 Speaker 1: in space. Quote. The first thing I thought was, shouldn't 365 00:20:31,760 --> 00:20:34,600 Speaker 1: he have some sort of breathing apparatus if he's entering 366 00:20:34,640 --> 00:20:37,800 Speaker 1: the vacuum of space? I asked George, and he said, fine, 367 00:20:37,880 --> 00:20:40,879 Speaker 1: give him a breath mask, which now we couldn't imagine 368 00:20:40,960 --> 00:20:44,480 Speaker 1: him without. Even after the film was moving forward and 369 00:20:44,560 --> 00:20:48,000 Speaker 1: mcquarie was called upon to make more images, he continued 370 00:20:48,040 --> 00:20:51,600 Speaker 1: to produce both quick sketches and full illustrations at that 371 00:20:51,800 --> 00:20:56,359 Speaker 1: high level that those initial illustration pieces had been. Ralph 372 00:20:56,440 --> 00:20:59,760 Speaker 1: explained in an interview in the early two thousands that 373 00:20:59,800 --> 00:21:03,080 Speaker 1: he just assumed that was what George Lucas wanted. Quote. 374 00:21:03,440 --> 00:21:06,040 Speaker 1: I started with shots of the Blockade Runner coming out 375 00:21:06,080 --> 00:21:09,399 Speaker 1: from behind a planet, chased by an Imperial fighter. That 376 00:21:09,560 --> 00:21:12,360 Speaker 1: was the first scene that I read and started sketching 377 00:21:12,440 --> 00:21:15,439 Speaker 1: right away. I did some sketches of Darth Vader and 378 00:21:15,520 --> 00:21:17,600 Speaker 1: R two D two right off the bat and the 379 00:21:17,640 --> 00:21:20,520 Speaker 1: sand Crawler and some stuff on the Death Star. Then 380 00:21:20,560 --> 00:21:24,440 Speaker 1: I started getting photographs of models being done by Colin Cantwell, 381 00:21:24,560 --> 00:21:26,919 Speaker 1: and then Joe Johnson was brought on and he started 382 00:21:26,960 --> 00:21:30,240 Speaker 1: supplying sketches and I would put those into my paintings, 383 00:21:30,240 --> 00:21:33,760 Speaker 1: thinking that's what George wanted, that's what was offered to me. 384 00:21:34,240 --> 00:21:37,879 Speaker 1: I made illustrations originally designed to sell the film. We 385 00:21:37,920 --> 00:21:40,760 Speaker 1: could have dispensed with doing color illustration after the film 386 00:21:40,800 --> 00:21:44,359 Speaker 1: was a go. I'm so glad they did not. Ralph's 387 00:21:44,400 --> 00:21:47,760 Speaker 1: concept designs were then used by costume designer John Molow 388 00:21:47,880 --> 00:21:50,960 Speaker 1: and production designer John Barry and his team as the 389 00:21:51,000 --> 00:21:55,000 Speaker 1: basis for the film's entire look. Incidentally, Barry and Molow 390 00:21:55,040 --> 00:21:57,840 Speaker 1: both won Oscars for their work on the film, and 391 00:21:57,880 --> 00:22:01,239 Speaker 1: knowing that other designers would be refined the ideas that 392 00:22:01,280 --> 00:22:04,000 Speaker 1: he was coming up with, allowed Ralph to work really quickly. 393 00:22:04,520 --> 00:22:07,000 Speaker 1: He would sketch and paint out things for George and 394 00:22:07,040 --> 00:22:09,920 Speaker 1: they were usually pretty close to what the director wanted, 395 00:22:09,960 --> 00:22:12,360 Speaker 1: so they would just move right on to the next thing. 396 00:22:13,200 --> 00:22:15,399 Speaker 1: And one thing that might have really helped here is 397 00:22:15,440 --> 00:22:19,000 Speaker 1: that McQuary was a well seasoned professional. At this time. 398 00:22:19,840 --> 00:22:22,080 Speaker 1: He was in his forties. He had been producing art 399 00:22:22,119 --> 00:22:24,800 Speaker 1: for clients for more than two decades and he was 400 00:22:24,800 --> 00:22:27,679 Speaker 1: a great collaborator. But he was also confident in his 401 00:22:27,720 --> 00:22:29,920 Speaker 1: skills and abilities, and he knew what he could bring 402 00:22:29,960 --> 00:22:32,960 Speaker 1: to the discussion or add to a design that would 403 00:22:32,960 --> 00:22:37,000 Speaker 1: serve the work. Ralph also created Matt paintings to be 404 00:22:37,160 --> 00:22:40,639 Speaker 1: used on film and Star Wars, specifically The Planets and 405 00:22:40,720 --> 00:22:43,560 Speaker 1: the Death Star. This was work that he did alone 406 00:22:43,640 --> 00:22:47,480 Speaker 1: in his garage. Harrison elenched Off from Disney was also 407 00:22:47,560 --> 00:22:50,320 Speaker 1: doing Matt paintings for the film and was the supervisor, 408 00:22:50,760 --> 00:22:53,159 Speaker 1: and the newly formed I l M was based in 409 00:22:53,200 --> 00:22:57,560 Speaker 1: the San Fernando Valley, but simultaneously, macquarie had other jobs 410 00:22:57,560 --> 00:23:00,119 Speaker 1: that he also had deadlines for, so it wasn't as 411 00:23:00,119 --> 00:23:01,879 Speaker 1: though he could just pick up and move out to 412 00:23:01,920 --> 00:23:05,240 Speaker 1: the I l M offices. So Ralph would produced these 413 00:23:05,320 --> 00:23:08,800 Speaker 1: large six foot long pieces and then strap them to 414 00:23:08,840 --> 00:23:10,639 Speaker 1: the top of his car and drive them to the 415 00:23:10,640 --> 00:23:13,919 Speaker 1: effects house to be photographed. He spoke about how his 416 00:23:14,040 --> 00:23:17,119 Speaker 1: technical and mechanical style was a little too precise to 417 00:23:17,359 --> 00:23:20,520 Speaker 1: really work well for Matt painting because it just didn't 418 00:23:20,560 --> 00:23:23,080 Speaker 1: feel right to a viewer. Quote. If you made a 419 00:23:23,119 --> 00:23:26,520 Speaker 1: tight illustration that was carefully tickled up so that everything 420 00:23:26,640 --> 00:23:29,160 Speaker 1: was reading to the naked eye there right before you, 421 00:23:29,560 --> 00:23:32,520 Speaker 1: it didn't look real there on screen. We had to 422 00:23:32,720 --> 00:23:35,200 Speaker 1: kind of blend things and make it a little casual 423 00:23:35,359 --> 00:23:37,480 Speaker 1: in order to have it come off as a Matt painting. 424 00:23:38,160 --> 00:23:40,520 Speaker 1: I got by as a Matt painter. Let's say that 425 00:23:41,200 --> 00:23:44,000 Speaker 1: when it became apparent that the death star he painted 426 00:23:44,000 --> 00:23:46,399 Speaker 1: on glass to use for a shot in the film 427 00:23:46,520 --> 00:23:49,000 Speaker 1: just didn't quite work, he had to take another approach. 428 00:23:49,560 --> 00:23:53,400 Speaker 1: According to mcquarie, once they photographed his flat painting, that's 429 00:23:53,400 --> 00:23:56,800 Speaker 1: exactly what it looked like. Quote, like flat art coming 430 00:23:56,840 --> 00:24:00,440 Speaker 1: at you. The solution was to keep Ralph's persist and work, 431 00:24:00,480 --> 00:24:03,040 Speaker 1: but to add dimension to it. Quote. So we made 432 00:24:03,080 --> 00:24:06,600 Speaker 1: this three and a half the diameter plexiglass sphere, and 433 00:24:06,640 --> 00:24:08,959 Speaker 1: I painted that and detailed it with tape and all 434 00:24:09,040 --> 00:24:12,640 Speaker 1: kinds of layers of paper glued on to make details, 435 00:24:12,680 --> 00:24:14,840 Speaker 1: and I cut a lot of little holes through the 436 00:24:14,840 --> 00:24:17,680 Speaker 1: paint to let light shine through. We put a light 437 00:24:17,760 --> 00:24:20,639 Speaker 1: inside of it and photographed that, and that made a 438 00:24:20,720 --> 00:24:23,760 Speaker 1: very convincing death star. In the final shot. There were 439 00:24:23,800 --> 00:24:27,080 Speaker 1: innumerable other projects that came with the Star Wars gig. 440 00:24:27,520 --> 00:24:32,760 Speaker 1: McQuary produced promotional images as well, including logos and posters, 441 00:24:32,800 --> 00:24:34,520 Speaker 1: and one of the projects that he worked on was 442 00:24:34,560 --> 00:24:37,159 Speaker 1: a possible poster for the film, which was listed in 443 00:24:37,240 --> 00:24:40,560 Speaker 1: the request for it as Fabulous five, but which Ralph 444 00:24:40,640 --> 00:24:45,000 Speaker 1: titled Fantastic five. The main characters look a little different here. 445 00:24:45,600 --> 00:24:48,640 Speaker 1: Han looks more like a battle reading warrior and less 446 00:24:48,680 --> 00:24:51,480 Speaker 1: like a casual, scruffy scoundrel, complete with a cape and 447 00:24:51,520 --> 00:24:55,320 Speaker 1: a lightsaber. Luke is a female figure wearing what looks 448 00:24:55,359 --> 00:24:57,720 Speaker 1: like a blue body suit and tan boots and a 449 00:24:57,720 --> 00:25:01,680 Speaker 1: fitted tunic. Chebacco looks are a very different, wearing an 450 00:25:01,760 --> 00:25:05,000 Speaker 1: armored tunic with a more orc like face and fur 451 00:25:05,080 --> 00:25:08,520 Speaker 1: that looks kind of bluish or possibly lavender see three. 452 00:25:08,600 --> 00:25:12,520 Speaker 1: Bio still looks more art deco, with Metropolis aesthetics still 453 00:25:12,640 --> 00:25:16,800 Speaker 1: driving the appearance are too shape and various armatures look 454 00:25:16,920 --> 00:25:19,960 Speaker 1: much like we're accustomed to today, although his blue accents 455 00:25:19,960 --> 00:25:23,840 Speaker 1: aren't there, He's almost entirely white. The five are posed 456 00:25:23,840 --> 00:25:26,680 Speaker 1: in the foreground with an orange to purple gradient sky 457 00:25:26,760 --> 00:25:30,520 Speaker 1: in the background, why wings fly overhead and a proto 458 00:25:30,600 --> 00:25:32,639 Speaker 1: death star looms in the background at the top of 459 00:25:32,640 --> 00:25:36,560 Speaker 1: the image. This was only ever used on a magazine 460 00:25:36,680 --> 00:25:40,080 Speaker 1: cover and never as a poster, which makes sense since 461 00:25:40,160 --> 00:25:43,679 Speaker 1: the characters changed so much. There were later versions of 462 00:25:43,720 --> 00:25:46,439 Speaker 1: this image with Luke and Leah in the foreground and 463 00:25:46,440 --> 00:25:48,480 Speaker 1: the Droids and Chewy looking a lot more as we've 464 00:25:48,480 --> 00:25:51,320 Speaker 1: come to know them, but ultimately the studio went in 465 00:25:51,320 --> 00:25:54,320 Speaker 1: a different direction for the poster. And this is where 466 00:25:54,320 --> 00:25:57,560 Speaker 1: we're gonna end part one because it's where McQuary wrapped 467 00:25:57,600 --> 00:25:59,800 Speaker 1: up his work on Star Wars at least for a 468 00:25:59,800 --> 00:26:03,600 Speaker 1: time and moved on to other projects. And our next 469 00:26:03,640 --> 00:26:06,480 Speaker 1: episode we'll talk about how things progressed after Star Wars 470 00:26:06,520 --> 00:26:09,880 Speaker 1: was released in theaters and how the franchise became Ralph's 471 00:26:09,880 --> 00:26:15,879 Speaker 1: primary work for several more years. UM, I have listener mail. Great. 472 00:26:16,040 --> 00:26:19,760 Speaker 1: That is about our interview with Jeremy Cats sort of. 473 00:26:19,800 --> 00:26:23,880 Speaker 1: It's also about everyone's shared love of images of America. Uh. 474 00:26:24,440 --> 00:26:27,000 Speaker 1: This is from our listener, Ari, who writes, Hi, Holly 475 00:26:27,000 --> 00:26:29,600 Speaker 1: and Tracy. I'm writing because your recent interview with Jeremy 476 00:26:29,640 --> 00:26:32,800 Speaker 1: Cats sent me into a spiral of book browsing. I 477 00:26:32,880 --> 00:26:35,000 Speaker 1: of course wanted to see the book after the interview 478 00:26:35,200 --> 00:26:37,600 Speaker 1: I am Jewish myself, and I'm always interested in learning 479 00:26:37,600 --> 00:26:39,640 Speaker 1: more of our history. And when I saw the cover, 480 00:26:39,760 --> 00:26:42,879 Speaker 1: I was transported. I worked in a bookstore for several 481 00:26:42,960 --> 00:26:45,000 Speaker 1: years when I was younger, and we always had some 482 00:26:45,080 --> 00:26:47,600 Speaker 1: of these books and I loved flipping through them, but 483 00:26:47,680 --> 00:26:51,080 Speaker 1: never bought any. I had no idea there were so many, 484 00:26:51,160 --> 00:26:53,120 Speaker 1: and before I knew it, I had added way too 485 00:26:53,160 --> 00:26:56,159 Speaker 1: many to my car on my local bookstores website. I 486 00:26:56,280 --> 00:26:59,399 Speaker 1: ended up only buying to Jeremy's as well as a 487 00:26:59,520 --> 00:27:02,119 Speaker 1: Gaze of Lesbians of San Francisco book. But I have 488 00:27:02,280 --> 00:27:04,840 Speaker 1: so many I want definitely going to be a treat 489 00:27:04,920 --> 00:27:08,000 Speaker 1: myself for some time to come. So thank you for 490 00:27:08,080 --> 00:27:10,120 Speaker 1: reminding me about these and for all your wonderful work 491 00:27:10,160 --> 00:27:13,800 Speaker 1: on this podcast. I really enjoy every episode. Uh, thank you, Ari. 492 00:27:13,920 --> 00:27:16,000 Speaker 1: They're so kind to send us this lovely email. I 493 00:27:16,040 --> 00:27:20,360 Speaker 1: feel like that episode three stoked images of America love 494 00:27:20,400 --> 00:27:24,240 Speaker 1: for many people, including myself, because I similarly have a 495 00:27:24,280 --> 00:27:27,280 Speaker 1: cart full of them. Uh. If you would like to 496 00:27:27,280 --> 00:27:31,000 Speaker 1: write to us, you can do so History Podcast at 497 00:27:31,000 --> 00:27:33,040 Speaker 1: i heeart radio dot com. You can also find us 498 00:27:33,040 --> 00:27:36,480 Speaker 1: everywhere on social media as Missed in History. You can 499 00:27:36,600 --> 00:27:39,320 Speaker 1: also subscribe to the show on the I Heart Radio app, 500 00:27:39,359 --> 00:27:42,159 Speaker 1: at Apple Podcasts, or wherever it is you listen. This 501 00:27:42,200 --> 00:27:44,840 Speaker 1: episode was brought to you in i Heeart three D Audio. 502 00:27:45,080 --> 00:27:48,280 Speaker 1: To experience more podcasts like this. 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