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The Art of Star Wars


                        ther printed matter, such as art
                        books and toy packaging also
                        added to the Star Wars mythology.
                  OOften uncredited, the editors
                  labeled the technical components in
                  a Joe Johnston sketch or wrote character
                  descriptions on Topps’s bubblegum cards.
                  They also contributed articles to Lucasfi lm’s
                  fan newsletter, Bantha Tracks, run by
                  Ira Friedman.
                    Of all the publications, Titelman
                  considered The Art of Star Wars to be her
                  crown jewel. Arranging Ralph McQuarrie’s
                  paintings and other Star Wars production
                  art—including fan-submitted pieces—
                  around Lucas’ screenplay took more than
                  a year. “People don’t have a clue nowadays
                  concerning how labor-intensive producing
                  a book like The Art of Star Wars was,” says
                  Lindsay Smith. “We didn’t have computers.
                  Every revised copy had to be typeset and
                  go to the lithographer.” With Titelman’s
                  insistence on the highest quality, Smith

                  spent five days at the printer’s offi ces in
                  upstate New York, rejecting proofs until
                  the colors were just right.



                 PRINTED MATTER
               SUCH AS ART BOOKS
              AND TOY PACKAGING
               ADDED TO THE STAR
                WARS MYTHOLOGY.














                                                   A New Egg                        Company’s kitchen. The director tested
                                                                                    his actresses by baking cookies with them.
                                                                                       Over time, the Egg Company veered
                                                        he surge of licensing deals   from the vision Lucas had of a casual,
                                                        brought the Los Angeles branch   creative environment into something

                                                        of Lucasfilm out of trailers and   akin to a corporate Hollywood studio.
                                                   Tinto a building known as “the Egg   A strict dress code was enforced.
                                                   Company.” Lucas had purchased the site   Executives received expensive luxury
                                                   from a poultry firm and renovated the   cars. A fueling pump was installed in the

                                                   interior with walnut paneling, industrial   back. It was precisely the management
                                                   kitchens, and a tree-lined atrium. No   style that Lucas had rebelled against as
                                                   longer were the editors as cramped   a filmmaker. In 1981, Lucas shut down the

                                                   for space when laying out images for   Egg Company and relocated Lucasfi lm’s
                                                   illustration-heavy tomes. Many fondly   corporate headquarters to San Rafael,
                                                   recall Steven Spielberg’s actor auditions   next to ILM, in Marin County, far away
                                                   for Raiders of the Lost Ark in the Egg   from Hollywood’s temptations.

                 96    INSIDER





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