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Monday, March 11, 2013

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  1. RAYLOKEMarch 11, 2013 at 6:26 PM

    ... “I’ve never been that much of a money guy,” Lucas says. “I’m more of a film guy, and most of the money I’ve made is in defense of trying to keep creative control of my movies.” Lucas is speaking by phone, giving a reluctant interview about the sale of Lucasfilm. He tells the familiar story about how he didn’t set out to be rich and powerful. He just wanted to make experimental movies like THX-1138, set in a futuristic world where sex is illegal, drug taking is mandatory, and brutal androids make sure people comply with the rules.

    Lucas had a searing experience with THX-1138. Warner Bros. took the movie out of his hands and recut it before it was released in 1971. Universal did the same thing with his next film, American Graffiti, set in his hometown of Modesto, Calif. But unlike THX-1138, American Graffiti was a hit.

    Lucas, still smarting from the way the studios treated his previous movies, decided to take a different approach with his next project, Star Wars Episode IV: A New Hope. He turned down a $500,000 fee to direct his own script, instead asking for $50,000 and the rights to all sequels. Episode IV, which opened in 1977, and the following two movies have grossed a combined $1.8 billion, including rereleases. After that first trilogy, Lucas was wealthy enough to do whatever he pleased. He could produce director Paul Schrader’s Mishima: A Life in Four Chapters, a brooding art film with a Philip Glass score that made only $500,000 at the box office. Or he could produce a television series about the early years of Indiana Jones, the swashbuckling archaeologist he created with Steven Spielberg. Unlike Raiders of the Lost Ark, The Young Indiana Jones Chronicles were intended to be history lessons. In one episode, Young Indiana would befriend Sidney Bechet, the seminal New Orleans saxophonist, and learn to play jazz.


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