American Cinematographer - February 2016 - 73
Even staying true to the "original"
Falcon was no clear-cut task, though, as
the ship's construction had been modified for each film in the original trilogy.
"We had drawings from Hope, drawings
from Empire and drawings from Jedi,"
Gilford explains, "and we had to go
through and do an amalgamation of
what we thought was the 'truest' Falcon.
"We built about two-thirds of [the
exterior]," Gilford continues, noting that
the Falcon was the first design to go into
physical construction at Pinewood. "We
knew that in all probability it would be
used for other films, so it made sense to
invest in it and make sure it could be
pieced back together. And we knew it
would be onstage and it would be
outside, so we built it in a way that could
be modular [for ease of transportation].
Paul Hayes was the construction coordinator; with his team, he engineered how
to build it."
The Falcon's interior was built on
M Stage at Pinewood. "The set-decorating department was just unbelievable,"
Gilford enthuses. "They studied every
frame of film and every set-continuity
still from the first movie. And we were
really fortunate to have a guy named
Mark Harris, who was an apprentice on
The Empire Strikes Back. He knew every
nut and bolt of that ship."
Throughout the concept stage,
Gilford says there remained "tons of
crossover" among the various artists.
"You'd go down a path with somebody,
and maybe you'd come up to a wall, and
you'd say, 'Well, let's give the next guy a
chance to see where he could take it.'"
Additionally, certain designs
would cross between the concept artists
in the U.S. and the creature-effects
department - supervised by Neal
Scanlan - housed at Pinewood. Gilford
explains, "There were times when J.J.
thought maybe we were going down an
avenue that was too traditionally science
fiction or automotive, and he wanted
something weirder or a little bit different,
so we'd ask the creature guys to take a
stab at it, and that was really successful."
One result of this trans-Atlantic
collaboration is the astromech droid
http://www.CinematographyElectronics.com
http://www.backstageweb.com
http://www.fluotecusa.com
American Cinematographer - February 2016
Table of Contents for the Digital Edition of American Cinematographer - February 2016
Contents
American Cinematographer - February 2016 - Intro
American Cinematographer - February 2016 - Cover1
American Cinematographer - February 2016 - Cover2
American Cinematographer - February 2016 - 1
American Cinematographer - February 2016 - 2
American Cinematographer - February 2016 - Contents
American Cinematographer - February 2016 - 4
American Cinematographer - February 2016 - 5
American Cinematographer - February 2016 - 6
American Cinematographer - February 2016 - 7
American Cinematographer - February 2016 - 8
American Cinematographer - February 2016 - 9
American Cinematographer - February 2016 - 10
American Cinematographer - February 2016 - 11
American Cinematographer - February 2016 - 12
American Cinematographer - February 2016 - 13
American Cinematographer - February 2016 - 14
American Cinematographer - February 2016 - 15
American Cinematographer - February 2016 - 16
American Cinematographer - February 2016 - 17
American Cinematographer - February 2016 - 18
American Cinematographer - February 2016 - 19
American Cinematographer - February 2016 - 20
American Cinematographer - February 2016 - 21
American Cinematographer - February 2016 - 22
American Cinematographer - February 2016 - 23
American Cinematographer - February 2016 - 24
American Cinematographer - February 2016 - 25
American Cinematographer - February 2016 - 26
American Cinematographer - February 2016 - 27
American Cinematographer - February 2016 - 28
American Cinematographer - February 2016 - 29
American Cinematographer - February 2016 - 30
American Cinematographer - February 2016 - 31
American Cinematographer - February 2016 - 32
American Cinematographer - February 2016 - 33
American Cinematographer - February 2016 - 34
American Cinematographer - February 2016 - 35
American Cinematographer - February 2016 - 36
American Cinematographer - February 2016 - 37
American Cinematographer - February 2016 - 38
American Cinematographer - February 2016 - 39
American Cinematographer - February 2016 - 40
American Cinematographer - February 2016 - 41
American Cinematographer - February 2016 - 42
American Cinematographer - February 2016 - 43
American Cinematographer - February 2016 - 44
American Cinematographer - February 2016 - 45
American Cinematographer - February 2016 - 46
American Cinematographer - February 2016 - 47
American Cinematographer - February 2016 - 48
American Cinematographer - February 2016 - 49
American Cinematographer - February 2016 - 50
American Cinematographer - February 2016 - 51
American Cinematographer - February 2016 - 52
American Cinematographer - February 2016 - 53
American Cinematographer - February 2016 - 54
American Cinematographer - February 2016 - 55
American Cinematographer - February 2016 - 56
American Cinematographer - February 2016 - 57
American Cinematographer - February 2016 - 58
American Cinematographer - February 2016 - 59
American Cinematographer - February 2016 - 60
American Cinematographer - February 2016 - 61
American Cinematographer - February 2016 - 62
American Cinematographer - February 2016 - 63
American Cinematographer - February 2016 - 64
American Cinematographer - February 2016 - 65
American Cinematographer - February 2016 - 66
American Cinematographer - February 2016 - 67
American Cinematographer - February 2016 - 68
American Cinematographer - February 2016 - 69
American Cinematographer - February 2016 - 70
American Cinematographer - February 2016 - 71
American Cinematographer - February 2016 - 72
American Cinematographer - February 2016 - 73
American Cinematographer - February 2016 - 74
American Cinematographer - February 2016 - 75
American Cinematographer - February 2016 - 76
American Cinematographer - February 2016 - 77
American Cinematographer - February 2016 - 78
American Cinematographer - February 2016 - 79
American Cinematographer - February 2016 - 80
American Cinematographer - February 2016 - 81
American Cinematographer - February 2016 - 82
American Cinematographer - February 2016 - 83
American Cinematographer - February 2016 - 84
American Cinematographer - February 2016 - 85
American Cinematographer - February 2016 - 86
American Cinematographer - February 2016 - 87
American Cinematographer - February 2016 - 88
American Cinematographer - February 2016 - 89
American Cinematographer - February 2016 - 90
American Cinematographer - February 2016 - 91
American Cinematographer - February 2016 - 92
American Cinematographer - February 2016 - 93
American Cinematographer - February 2016 - 94
American Cinematographer - February 2016 - 95
American Cinematographer - February 2016 - 96
American Cinematographer - February 2016 - Cover3
American Cinematographer - February 2016 - Cover4
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