Song ji hyo and kim jong kook relationship 2015 gmc

SPARTACE COUPLE KimJongkook-SongJiHyo - Page - shippers' paradise - Soompi Forums

song ji hyo and kim jong kook relationship 2015 gmc

Suk Jin. Jong Kook. Gary. Ji Hyo. Haha. Gwang Soo. | See more ideas about Running man Yoo Jae Suk, Song Ji Hyo, Lee Kwang Soo, HaHa, Kim Jong. The film was followed by a beginning with in , and continued with In ep –, Haha, Kim Jong-kook and Song Ji-hyo visited as a . He is shown to be jealous of the good relationship between Yoo Jae-suk and Kim Jong-kook. Sierra Trading Post is an online, brick-and-mortar, and catalog. 5 years is normal in relationships, 9 years isn't much especially http://www. dubaiairporthotel.info . without talking at all Kim Jong Kook - He has to eat cheese ramyun, fried.

song ji hyo and kim jong kook relationship 2015 gmc

April 4, bidovacsb Thank you for the translation. I wouldn't have paid close attention to JH's words without this post since this was not subbed. Btw, can you tell me what were the things the PD team wanted them to do in case it was a unanimous decision each time? It wasn't subbed in the stream I watched. It was easy for me to sign up for naver, but joining the cafe was hard since I didn't know how to answer the korean questions.

Once I learnt I could answer in english, it was easy. I get a sense of what they are saying with google translate, so navigating isn't that hard.

But knowing the exact details is the hard part like in this post where there seems to be an overall narrative going on. Don't get scared by the number of pics. The text to translate is not that much. You are really a god-send and I like the way you translate since you seem to pay a lot of attention to each word.

kim jong kook love song ji hyo so sweet ❤❤❤

Good episode overall though like tee I also miss having some games to liven it up a bit more. The great thing is the cast is again having fun and that is quite noticeable. It has been so long since we saw the great betrayers betraying each other and it felt so awesome to have Haha and KS at their best brought back memories of the early RM days when they earned the rights to that title. Haha has tricked so many of the cast through the years, especially that epic betrayal of YJS in the Super Powers episode.

Wow, he is really something to anticipate each of LKS' moves and to hatch his plan so cunningly. It was really a conscious choice on his part not to choose JH since many of his cast mates expected him to do the same. That means, at least for the time being, Gary really doesn't want to get linked with JH that way which is great for the show. It feels great to have a Gary who can team up with people whose company he prefers instead of being forced to be with JH always.

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I was looking at spartace interactions in RM episodes over the past few months in instagram and my realization was that the cut down on their interactions has been there for the past months, way before WAIL started. I want a bit more of JK and JH individually in the coming episodes. Hopefully, that will happen in the coming episodes may be not much of JK in the next one. Still, it is great to see JH get a bit more screen time.

Daniels auditioned for and was cast as C-3PO; he has said that he wanted the role after he saw a drawing of the character and was struck by the vulnerability in the robot's face.

Thirty well-established read for the voice of the droid. According to Daniels, one of the major voice actors, believed by some sources to be, recommended Daniels's voice for the role. He said, 'He saw me come in and said 'He'll do' because I was the smallest guy they'd seen up until then.

R2-D2's recognizable beeps and squeaks were made by and Lucas imitating 'baby noises', recording these voices as they were heard on an intercom, and creating the final mix using a. Mayhew learned of a casting call for Star Wars, which was filming in London, and decided to audition.

He said, 'I sat down on one of the sofas, waiting for George. Door opened, and George walked in with Gary behind him. So, naturally, what did I do? I'm raised in England. Soon as someone comes in through the door, I stand up.

George goes 'Hmm [looked up]. Chewbacca or Darth Vader. He chose the former because he wanted to play a hero; British actor David Prowse took the other. Mayhew modeled his performance of Chewbacca after the mannerisms of animals he saw at public. A lord, second in command of the, who hopes to destroy the Rebel Alliance. Lucas originally intended for to voice Vader after dismissing using Prowse's own voice due to his English accent, leading to the rest of the cast nicknaming him 'Darth Farmer'.

After deciding that Welles' voice would be too recognizable, he cast the lesser-known James Earl Jones instead. Other actors include and, respectively, as and, Luke's uncle and aunt;, Kenny Baker's partner in his London comedy act, as the Chief Jawa in the film; as Vanden Willard, a Rebel general; and as rebel pilots and Luke's childhood friendrespectively; and and as Imperial Generals and Moradmin Bast, respectively. Plays an admiral, named Conan Antonio Motti, who dares mock Darth Vader's faith in the force and his failure to locate the rebel base and the stolen Death Star plans, and is nearly force choked to death by Vader, only saved by Tarkin intervening and ordering Vader to release him.

Plays a minor role as a Stormtrooper known for accidentally hitting his helmet against a door. Production [ ] Development [ ]. The director and writer of Star Wars, shown here in He was unsuccessful in his idea to several major Hollywood studios because it was 'a little strange'. Eventually, Lucas presented the treatment to, and the film was approved.

Elements of the history of Star Wars are commonly disputed, as George Lucas' statements about it have changed over time. One of the claims is that he intended to make the film a. Lucas has said that it was early as —after he completed directing his first full-length feature, —that he first had an idea for a space fantasy film, though he has also claimed to have had the idea long before then. In the coffee table book Star Wars: He felt that the bleak tone of the film led to it being poorly received, and therefore chose to make Star Wars a more optimistic film.

This is what led to the fun and adventurous tone of the space opera. Originally, Lucas wanted to adapt the space adventure comics and serials into his own films, having been fascinated by them since he was young. Inhe said, 'I especially loved the Flash Gordon serials. Of course I realize now how crude and badly done they were.

Loving them that much when they were so awful, I began to wonder what would happen if they were done really well. He pushed towards buying the Flash Gordon rights.

song ji hyo and kim jong kook relationship 2015 gmc

I wanted to make a Flash Gordon movie, with all the trimmings, but I couldn't obtain the rights to the characters.

So I began researching and went right back and found where who had done the original Flash Gordon comic strips in newspapers had got his idea from. I discovered that he'd got his inspiration from the works of author of and especially from his series books. I read through that series, then found that what had sparked Burroughs off was a science-fantasy called, written by and published in That was the first story in this genre that I have been able to trace.

Had got pretty close, I suppose, but he never had a hero battling against space creatures or having adventures on another planet. A whole new genre developed from that idea.

Director, who accompanied Lucas in buying the Flash Gordon rights, recounted in'[George] was very depressed because he had just come back and they wouldn't sell him Flash Gordon. And he says, 'Well, I'll just invent my own. After his failed attempt to gain the rights, Lucas went to United Artists and showed the script for American Graffiti, but they passed on the film, which was then picked up.

Lucas began writing in January'eight hours a day, five days a week', by taking small notes, inventing odd names and assigning them possible characterizations. Lucas would discard many of these by the time the final script was written, but he included several names and places in the final script or its sequels.

He revived others decades later when he wrote his prequel trilogy. He used these initial names and ideas to compile a two-page synopsis titled Journal of the Whills, which told the tale of the training of apprentice CJ Thorpe as a 'Jedi-Bendu' space commando by the legendary Mace Windy.

Frustrated that his story was too difficult to understand, Lucas then began writing a page called The Star Wars on April 17,which had thematic parallels with 's film. After United Artists declined to budget the film, Lucas and producer presented the film treatment to, the studio that financed American Graffiti; however, it rejected its options for the film because the concept was 'a little strange', and it said that Lucas should follow American Graffiti with more consequential themes.

Lucas said, 'I've always been an outsider to Hollywood types. They think I do weirdo films. What seems to be the case generally is that the studio executives are looking for what was popular last year, rather than trying to look forward to what might be popular next year.

We had westerns, pirate movies, all kinds of great things. Now they have and. Where are the romance, the adventure, and the fun that used to be in practically every movie made? Lucas and Kurtz, in the film, said that it would be 'low-budget, style, and the budget was never going to be more than—well, originally we had proposed about 8 million, it ended up being about Both of those figures are very low budget by Hollywood standards at the time.

Although Ladd did not grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd 'invested in me, he did not invest in the movie. All the books and films and comics that I liked when I was a child. The plot is simple—good against evil—and the film is designed to be all the fun things and fantasy things I remember.

The word for this movie is fun. It's always been what you might call a good idea in search of a story. He changed Starkiller to an adolescent boy, and he shifted the general into a supporting role as a member of a family of.

Lucas envisioned the smuggler, as a large, green-skinned monster with gills. He based on his dog, Indiana whom he would later use as namesake for his characterwho often acted as the director's 'co-pilot' by sitting in the passenger seat of his car. Lucas began researching the genre by watching films and reading books and comics. His first script incorporated ideas from many new sources.

The script would also introduce the concept of a Jedi Master father and his son, who trains to be a Jedi under his father's friend; this would ultimately form the basis for the film and, later, the trilogy. However, in this draft, the father is a hero who is still alive at the start of the film. Lucas completed a second draft of The Star Wars in Januarymaking heavy simplifications and introducing the young hero on a farm as Luke Starkiller.

Annikin became Luke's father, a wise Jedi knight. This second draft still had some differences from the final version in the characters and relationships. For example, Luke had several brothers, as well as his father, who appears in a minor role at the end of the film. The script became more of a quest as opposed to the action-adventure of the previous versions. This version ended with another text crawl, previewing the next story in the series. This draft was also the first to introduce the concept of a Jedi turning to: Impressed with his works, Lucas hired conceptual artist to create paintings of certain scenes around this time.

When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings. A third draft, dated August 1,was titled The Star Wars: From the Adventures of Luke Starkiller. This third draft had most of the elements of the final plot, with only some differences in the characters and settings.

The draft characterized Luke as an only child, with his father already dead, replacing him with a substitute named Ben Kenobi. This script would be re-written for the fourth and final draft, dated January 1,as The Adventures of Luke Starkiller as taken from the Journal of the Whills, Saga I: Lucas worked with his friends and to revise the fourth draft into the final pre-production script. And request the sequel rights to the film. For Lucas, this deal protected Star Wars ' unwritten segments and most of the merchandising profits.

Lucas finished writing his script in Marchwhen the crew started filming. He said, 'What finally emerged through the many drafts of the script has obviously been influenced by science-fiction and action-adventure I've read and seen. And I've seen a lot of it. I'm trying to make a classic sort of genre picture, a classic space fantasy in which all the influences are working together.

There are certain traditional aspects of the genre I wanted to keep and help perpetuate in Star Wars. He would also continue to tweak the script during filming, including adding the death of Obi-Wan after realizing he served no purpose in the ending of the film.

For, Lucas originally wrote a composition consisting of six paragraphs with four sentences each. He said, 'The crawl is such a hard thing because you have to be careful that you're not using too many words that people don't understand. It's like a poem. Director, who was there, described it: It goes on forever. Let me sit down and write this for you.

Design [ ] George Lucas recruited many conceptual designers, including Colin Cantwell, who worked onto conceptualize the initial spacecraft models; Alex Tavoularis to create the preliminary conceptual sketches of early scripts; and to visualize the characters, costumes, props and scenery. McQuarrie's pre-production paintings of certain scenes from Lucas's early screenplay drafts helped 20th Century Fox visualize the film, which positively influenced their decision to fund the project.

After McQuarrie's drawings for Lucas's colleagues and who were collaborating for a film caught his interest, Lucas met with McQuarrie to discuss his plans for the then-untitled space fantasy film he wanted to make. Two years later, after completing American Graffiti, Lucas approached McQuarrie and asked him if he would be interested 'in doing something for Star Wars.

He commissioned production designers and, who were working on the sets of the film when Lucas first approached them, to work on the production sets. Christian recounted in And we spoke and he looked at the set and couldn't believe it wasn't real. Christian said that Lucas 'didn't want anything [in Star Wars] to stand out, he wanted it [to look] all real and used. And I said, 'Finally somebody's doing it the right way. Instead of following the traditional sleekness and futuristic architecture of science fiction films that came before, the Star Wars sets were designed to look inhabited and used.

Barry said that the director 'wants to make it look like it's shot on location on your average everyday Death Star or Mos Eisley Spaceport or local cantina. George was going right against that. For four to five months, in a studio in, England, they attempted to plan the creation of the props and sets with 'no money'. Although Lucas initially provided funds using his earnings from American Graffiti, it was inadequate.

As they could not afford to dress the sets, Christian was forced to use unconventional methods and materials to achieve the desired look. He suggested that Lucas use in making the dressings, and the director agreed. Christian said, 'I've always had this idea. I used to do it with models when I was a kid. I'd stick things on them and we'd make things look old.

According to Christian, the Millennium Falcon set was the most difficult to build. Christian wanted the interior of the Falcon to look like that of a submarine. He found scrap airplane metal 'that no one wanted in those days and bought them'.

He began his creation process by breaking down jet engines into scrap pieces, giving him the chance to 'stick it in the sets in specific ways'. It took him several weeks to finish the chess set which he described as 'the most encrusted set' in the hold of the Falcon. The garbage compactor set 'was also pretty hard, because I knew I had actors in there and the walls had to come in, and they had to be in dirty water and I had to get stuff that would be light enough so it wouldn't hurt them but also not bobbing around'.

A total of 30 sets consisting of planets, starships, caves, control rooms, cantinas, and the Death Star corridors were created; all of the nine sound stages at Elstree were used to accommodate them. The massive rebel hangar set was housed at a second sound stage at; the stage was the largest in Europe at the time.

Filming [ ] InLucas formed his own visual effects company ILM after discovering that 20th Century Fox's visual effects department had been disbanded. ILM began its work on Star Wars in a warehouse in.

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Most of the visual effects used pioneering digital developed by and his team, which created the illusion of size by employing small models and slowly moving cameras. George Lucas tried 'to get a cohesive reality' for his feature. However, since the film is a, as he had described, 'I still wanted it to have an ethereal quality, yet be well composed and, also, have an alien look.

To achieve this, he hired the British cinematographer. Originally, Lucas's first choice for the position was, who also provided the cinematography for 's Unsworth was interested in working with the director, and initially accepted the job when it was offered to him by Lucas and Kurtz.

However, he eventually withdrew to work on the -directed instead, which 'really annoy[ed]' Kurtz. Lucas called up for other cinematographers, and eventually chose Taylor, basing his choice on Taylor's cinematography for and both On his decision, Lucas said: Taylor said that Lucas, who was consumed by the details of the complicated production, 'avoided all meetings and contact with me from day one, so I read the extra-long script many times and made my own decisions as to how I would shoot the picture.

Taylor was aware of the 'enormous amount of process work' to follow and believed 'a crisp result would help'. During production, Lucas and Taylor—whom Kurtz called 'old-school' and 'crotchety' —had disputes over filming. With a background in, Lucas was accustomed to creating most of the elements of the film himself. His lighting suggestions were rejected by Taylor, who felt that Lucas was overstepping his boundaries by giving specific instructions, sometimes even moving lights and cameras himself.

Taylor refused to use the soft-focus lenses and gauze Lucas wanted after Fox executives complained about the look. Kurtz stated that 'In a couple of scenes [. Hotel Sidi Driss, the underground building in used to film Luke's home Originally, Lucas envisioned the planet of, where much of the film would take place, as a planet.

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Gary Kurtz traveled to the to scout locations; however, because of the idea of spending months filming in the jungle would make Lucas 'itchy', the director refined his vision and made Tatooine a instead. Kurtz then researched all American, North African, and deserts, and found Tunisia, near the desert, as the ideal location. In the director's commentary of the DVD edition of A New Hope, Lucas said he wanted to also make it look more 'spacy' or outer space-like in style.

When principal photography began on March 22, in the Tunisian desert for the scenes on Tatooine, the project faced several problems. Lucas fell behind schedule in the first week of shooting due to malfunctioning props and electronic breakdowns. Moreover, a rare Tunisian rainstorm struck the country, which further disrupted filming.

Taylor said, 'you couldn't really see where the land ended and the sky began. It was all a gray mess, and the robots were just a blur. But George saw it differently, so we tried using nets and other diffusion. He asked to set up one shot on the robots with a mm, and the sand and sky just mushed together. I told him it wouldn't work, but he said that was the way he wanted to do the entire film, all diffused. Filming began in, while a construction crew in took eight weeks to transform the desert into the desired setting.

Other locations included the sand of the Tunisian desert near, where a scene featuring a giant skeleton of a creature lying in the background as and make their way across the sands was filmed. When actor wore the C-3PO outfit for the first time in Tunisia, the left leg piece shattered down through the plastic covering his left foot, stabbing him. He also could not see through his costume's eyes, which was covered with gold to prevent corrosion. Abnormal radio signals caused by the Tunisian sands made the radio-controlled R2-D2 models run out of control.

Lucas chose Hotel Sidi Driss, which is larger than the typical underground dwellings, to shoot the interior of Luke's homestead. Additional scenes for Tatooine were filmed at in North America. After completing two and a half weeks of filming in Tunisia, the cast and crew moved into the more controlled environment of, near London. Difficulties encountered in Tunisia were assumed to cease; however, due to strict British working conditions adhered to on set, a new problem arose: The interiors were shot in London due to its proximity to North Africa and because of the availability of top technical crews at Elstree Studios.

The film studio was the only one of its kind in Britain or America that could cater nine large stages at the same time and allow the company complete freedom to use its own personnel. Despite Lucas' efforts, his crew had little interest in the film and did not take the project seriously. Most of the crew considered the project a 'children's film', rarely took their work seriously, and often found it unintentionally humorous. Actor Baker later confessed that he thought the film would be a failure.

Found it strange that 'there's a princess with weird buns in her hair', and he called Chewbacca a 'giant in a monkey suit'. He said that 'they were all black and gray, with really no opportunities for lighting at all'. To resolve the problem, he worked the lighting into the sets by chopping in its walls, ceiling and floors.

This would result in 'a 'cut-out' system of panel lighting', with that could be placed in the holes in the walls, ceiling and floors. His idea was supported by the Fox studio, which agreed that 'we couldn't have this ' '.

The lighting approach Taylor devised 'allowed George to shoot in almost any direction without extensive relighting, which gave him more freedom. Guatemala, which served as the setting of the rebel base. The moon, which acted as the rebel base in the film, was filmed in the temples at, Guatemala. Lucas selected the location as a potential filming site after seeing a poster of it hanging at a while he was filming in Britain.

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This inspired him to send a film crew to Guatemala in March to shoot scenes. While filming in Tikal, the crew paid locals with a six pack of to watch over the camera equipment for several days.

Lucas rarely spoke to the actors, who felt that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words 'faster' and 'more intense'. Kurtz stated that 'it happened a lot where he would just say, 'Let's try it again a little bit faster.

A lot of actors don't mind—they don't care, they just get on with it. But some actors really need a lot of pampering and a lot of feedback, and if they don't get it, they get paranoid that they might not be doing a good job. For two weeks, Lucas and his crew 'didn't really do anything except kind of pull together new budget figures'. At the same time, after production fell behind schedule, Ladd told Lucas he had to finish production within a week or he would be forced to shut down production.

Kurtz said that 'it came out to be like 9. Under the new system, the project met the studio's deadline. During production, the cast attempted to make Lucas laugh or smile, as he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with and exhaustion and was warned to reduce his stress level.

Was equally stressful due to increasing pressure from 20th Century Fox. Moreover, 's car accident left his face visibly scarred, which restricted re-shoots. Claimed to have been the only person in the audience to have enjoyed the film in its early cut screening Star Wars was originally slated for release on Christmas ; however, its production delays pushed the film's release to summer Already anxious about meeting his deadline, Lucas was shocked when editor 's first cut of the film was a 'complete disaster'.

According to an article in Star Wars Insider No. After attempting to persuade Jympson to cut the film his way, Lucas replaced him with and. He also allowed his then-wife, to aid the editing process while she was cutting the film with Lucas's friend.

Richard Chew found the film to have a lethargic pace and to have been cut in a by-the-book manner: He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously.

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Jympson's original contained a large amount of footage which differed from the of the film, including several alternate takes and a number of to improve the narrative pace. The most significant material cut was a series of scenes from the first part of the film which served to introduce the character of Luke Skywalker. These early scenes, set in Anchorhead on the planet Tatooine, presented the audience with Luke's everyday life among his friends as it is affected by the space battle above the planet; they also introduced the character of, Luke's closest friend who departs to join the Rebellion.

Chew explained the rationale behind removing these scenes as a narrative decision: There were too many story lines to keep straight: So we simplified it by taking out Luke and Biggs'. After viewing a rough cut, Alan Ladd likened these Anchorhead scenes to ' in outer space'.

Lucas was looking for a way of accelerating the storytelling, and removing Luke's early scenes would distinguish Star Wars from his earlier teenage drama and 'get that American Graffiti feel out of it'.

The company had spent half of its budget on four shots that Lucas deemed unacceptable. Moreover, theories surfaced that the workers at ILM lacked discipline, forcing Lucas to intervene frequently to ensure that they were on schedule. With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months.

Lucas inspired ILM by editing together aerial from old war films, which enhanced the pacing of the scenes. During the chaos of production and post-production, the team made decisions about character voicing and. Sound designer had created a library of sounds that Lucas referred to as an 'organic soundtrack'. Blaster sounds were a modified recording of a steel cable, under tension, being struck.

The sound effect was developed by Burtt as a combination of the hum of idling in aged and interference caused by a television set on a shieldless. Burtt discovered the latter accidentally as he was looking for a buzzing, sparking sound to add to the projector-motor hum.

For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Lucas and Burtt created the robotic voice of R2-D2 by filtering their voices through an electronic synthesizer.

Darth Vader's breathing was achieved by Burtt breathing through the mask of a regulator implanted with a microphone. In FebruaryLucas screened an early cut of the film for Fox executives, several director friends, along with and of who were preparing a.

The cut had a different crawl from the finished version and used Prowse's voice for Darth Vader. It also lacked most special effects; hand-drawn arrows took the place of blaster beams, and when the Millennium Falcon fought, the film cut to footage of. The reactions of the directors present, such as, and, disappointed Lucas. Spielberg, who claimed to have been the only person in the audience to have enjoyed the film, believed that the lack of enthusiasm was due to the absence of finished special effects.

Lucas later said that the group was honest and seemed bemused by the film. In contrast, Ladd and the other studio executives loved the film; told Lucas: Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before.

Lucas had planned to rework a confrontation scene between Han Solo and in Mos Eisley Spaceport by a model of Jabba to replace the actor, but with time and money running out, Lucas reluctantly decided to cut the scene entirely.

The sequence was later with a computer-generated version of Jabba. Original vinyl release On the recommendation of his friend, Lucas hired composer. Williams had worked with Spielberg on the film, for which he won an. Lucas felt that the film would portray visually foreign worlds, but that the musical score would give the audience an emotional familiarity; he wanted a grand musical sound for Star Wars, with to provide distinction. Therefore, he assembled his favorite orchestral pieces for the soundtrack, until Williams convinced him that an original score would be unique and more unified.

However, a few of Williams' pieces were influenced by the tracks given to him by Lucas: In MarchWilliams conducted the to record the Star Wars soundtrack in 12 days.

The original soundtrack was released as a double LP in The 's ranks the Star Wars soundtrack at number one. Cinematic and literary allusions [ ]. Such as and, which used aircraft like the top and the bottomrespectively, were inspirations for the battle sequences According to Lucas, different concepts of the film were inspired by numerous sources, such as and for the origins of myth and religion.

Lucas originally intended to rely heavily on the s; however, he resorted to 's film, and 's, because of copyright issues with Flash Gordon. The film has also been compared to. The influence of Kurosawa's film can be seen in the relationship between C-3PO and R2-D2, which evolved from the two bickering peasants in The Hidden Fortress, and a Japanese family crest seen in the earlier film is similar to the Imperial Crest.

Star Wars also borrows heavily from another Kurosawa film. In both films, several men threaten the hero, bragging about how wanted they are by the authorities, and have an arm being cut off by a blade; Kuwabatake Sanjuro portrayed by is offered '. Twenty-five ryo now, twenty-five when you complete the mission. Arrakis is the only known source of a longevity spice called. References to 'spice', various illegal stimulant drugs, occur throughout the last three [ ] films of the Star Wars saga.

In the original film, is a spice smuggler who has been through the spice mines of Kessel. In the conversation at Obi-Wan Kenobi's home, between Obi-Wan and Luke, Luke expresses a belief that his father was a on a spice freighter.

Other similarities include those between Princess Leia and Princess Alia, and between and 'The Voice', a controlling ability used by the. In passing, Uncle Owen and Aunt Beru are 'moisture farmers'; in Dune, dew collectors are used by to 'provide a small but reliable source of water. In addition, the sequence was partially inspired by the climax of the filmdirected by, in which RAF attack a German plant by flying down a narrow to drop special bombs at a precise point, while avoiding anti-aircraft guns and German fighters.

Clips from both films were included in Lucas's temporary dogfight footage version of the sequence. The opening shot of Star Wars, in which a detailed spaceship fills the screen overhead, is a reference to the scene introducing the interplanetary spacecraft in 's seminal film. The earlier big-budget influenced the look of Star Wars in many other ways, including the use of pods and hexagonal corridors. The Death Star has a docking bay reminiscent of the one on the orbiting space station in Although and male, C-3PO was inspired by the silver female robot Maria, the from 's film.

Accounts differ as to when this designation was first added; some date the change at the theatrical re-release of April 10,while others place it much earlier at the re-release in July The of these subtitles was intended to bring the film into line with the introduction to its sequel, The Empire Strikes Back, which was released in bearing the designation 'Episode V'.

It is uncertain if the introduction of an episodic naming convention was an indicator of Lucas's original intent, or if this was simply a later redraft of the narrative. According to some accounts, Lucas has claimed that he was discouraged by Twentieth Century Fox from using an episode number on a new film because it would confuse audiences.

Gary Kurtz has stated that he and Lucas had originally considered using an episode number for Star Wars to emulate the chapter numbering used in the Flash Gordon installments, but they were uncertain whether they should designate it Episode III, IV or V. Dan Perri's original Star Wars logotype While the film was in production, a logo was commissioned from, a who had worked on the titles for films such as This logo design was originally conceived to follow the same perspective as the film's opening crawl.

In the end, Perri's logo was not used for the film's opening title sequence, although it was used widely on pre-release print advertising and on cinema. The logotype eventually selected for on-screen use originated in a promotional brochure that was distributed by Fox to cinema owners in This brochure was designed by, a young art director at the Seiniger Advertising. On a visit to ILM in Van Nuys, Rice was instructed by Lucas to produce a logo that would intimidate the viewer, and he reportedly asked for the logo to appear 'very ' in style.

Rice's response to her brief was to use an outlined, modified. Lucas signed off on the brochure in between takes while filming inserts for the Mos Eisley Cantina scene. Gary Kurtz was impressed with Rice's logo and selected it over Perri's design for the film's opening titles, after modifying the letter W to flatten the pointed tips originally designed by Rice.

This finalised the design of one of the most recognisable logos in cinema design, although Rice's contribution was not credited in the film. They used the freelance artist who was given the brief of 'good over evil'.

His poster, known as, depicted Luke Skywalker standing in a heroic pose, brandishing a shining lightsaber above his head, with Princess Leia below him, and a large, ghostly image of Darth Vader's helmet looming behind them. Some Fox executives considered this poster 'too dark' and commissioned the, a pair of well-known, to rework the poster for the UK release. When the film opened in British theaters, the Hildebrandts' was used in cinema.

Fox and subsequently decided that they wanted to promote the new film with a less and more depiction of the lead characters. Producer Gary Kurtz turned to the film poster artist, who was already well known for his prolific work for, and commissioned a new version. As 20th Century Fox gave little support for marketing beyond licensing and posters, Lippincott was forced to look elsewhere. He secured deals with Marvel Comics for a comic book adaptation, and with for a novelization.

A fan of science fiction, he used his contacts to promote the film at the and elsewhere within. Worried that Star Wars would be beaten out by other summer films, such as, 20th Century Fox moved the release date to May 25, the Wednesday before. However, fewer than 40 theaters ordered the film to be shown. In response, the studio demanded that theaters order Star Wars if they wanted the eagerly anticipated based on.

Did a radio call-in show. This caller, was really enthusiastic and talking about the movie in really deep detail. I said, 'You know a lot about the film. Kurtz said in'That would be laughable today.

Lucas himself was not able to predict how successful Star Wars would be.