(revision 10-11-05)
These quotation references should be read in conjunction with the hardback text, and the printed bibliographic information at the end of the book. Numbers refer to page numbers in the text. AI = AuthorÕs interview; E = Email with author; Occasionally (and inconsistently) I call out a bit of information in brackets [] instead of quotes when I chose to give a reference for information but not a quotation from the text. Some additional web references of interest sometimes are inserted as appropriate.
3 Ò[George Cukor once] said ÔIÕm not a film-maker...Ó Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
3 ÒIÕm not a technological guy at all...Ó: George Lucas, AI, 4/28/04.
3 ÒIÕm just somebody who wants to make movies...Ó Ibid.
4 Òmentor/tormentorÓ: Thomas Brown, AI, 6/21/02.
5 ÒWe respect each other...Ó: Vallely, Jean. ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
5 Òfuturistic plant that would place filmmaking squarely in the technological eraÉÓ: Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
5 ÒThe reason for all this stuff...Ó : Ibid.
5 ÒWe can bounce ideas off each otherÉÓ: Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
5 ÒThe fact that heÕs always doing crazy things influences meÉÒ: Vallely, Jean. ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
5 ÒFrancis and I were both very interestedÉÓ: George Lucas, AI, 4/28/04.
5 ÒItÕs like the period in the late 15th centuryÉÓ: Ibid.
5 ÒAnd then along came oil paintingÉÓ: Ibid.
6 ÒAll art is technologyÉÓ: Ibid.
7 ÒI was as normal as you can getÉÓ: Harmetz, Aljean. ÒBurden of Dreams: George Lucas,Ó American Film, June 1983.
7 ÒI really wanted to go to art schoolÉÓ: Yarish, Alice. ÒGeorge LucasÑhell-raiser to millionaire,Ó San Francisco Examiner, Feb. 20, 1980.
7 ÒI met him and I naturally liked anybodyÉÓ: Haskel Wexler, AI, 12/3/04.
8 ÒI sensed a guyÉÓ: Ibid.
8 ÒÉI just turned my back on HollywoodÉÓ: ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
9 ÒAll my friends thought I was crazyÉÓ: Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
10 ÒWhen I went in, I just kinda ambled inÉÓ: ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
10 [his first student film festival prize]: Kline, Sally (ed). George Lucas Interviews. University Press of Mississippi, 1999, p65.
10 [seventeen other awards]: Salewicz, Chris. George Lucas Close UpÑThe Making of His Movies. ThunderÕs Mouth Press, New York, 1999, p13.
10 ÒIt wasnÕt moviesÉÓ : ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
10 ÒI realized I had found myselfÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992, p18.
10 ÒThe only school for the cinemaÉÓ: Roberts, Kenneth H and Sharples, Win Jr. A Primer for Film-Making; A Complete Guide to 16 and 35mm Film Production. Bobbs-Merrill Company, USA, 1976, p 491.
11 ÒEveryone did itÉÓ gwlHx3wPuB
11 ÒI was introduced to film editingÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992, p18.
12 ÒI was an editing freakÉÓ: Pye, Michael and Miles, Linda. The Movie Brats: How the film generation took over Hollywood. Holt, Rinehart, and Winston, 1979
13 ÒMaybe I heard thingsÉÓ: Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p6.
13 Òthink of all the money weÕll saveÉÓ: Ibid. Paraphrased, p6
13 ÒI discovered then that editing imagesÉÓ: Ibid. p9
14 [new wave info] ÒThe French New WaveÓ by Stephen Nottingham. http://ourworld.compuserve.com/homepages/Stephen_Nottingham/cintxt2.htm
14 [addÕl new wave info] http://www.moviemaker.com/issues/47/frenchnew.html
14 [addÕl new wave info] http://www.harvardfilmarchive.org/calendars/02mayjune/newwave.html
15 Òevery film student on the planet...Ó: Legacy of Filmmakers: The Early Years of American Zoetrope,Ó produced, written and directed by Gary Leva; © 2004 Warner Bros. Entertainment, Inc.
15 [sound and men] Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p26.
15 [Cristiani] AI, Gabriella Cristiana, n.d. 1990
15-16 [Fields biography] from Peary, Gerald. ÒVerna Fields.Ó The Real PaperÑOct. 23, 1980. www.geraldpeary.com/essays/def/fields-verna.html
16 ÒI had these unmarked airportsÉÓ: Ibid.
16 ÒFields was famousÉÓ: Entire paragraph and Fields quote paraphrased from Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998, p.237.
16 ÒItÕs a very simple idea...Ó: ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
17 ÒWith documentary films, I got used to shooting a ton of material...Ó: Hearn, Marcus. The Cinema of George Lucas. Harry N. Abrams Inc., New York, 2005, p 25.
18 ÒAs we were going in for our final interviewÉÓ: Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p13.
19 ÒPeople are hampered by moneyÉÓ: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p. 43. (quote from a conversation with writer Gay Talese).
19 ÒSo I decided I was going to risk it allÉÓ: Ibid p.33.
20 [Background]: Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998, p35.
21 ÒWith it came the big time wayÉÓ gwlHx3wPuB
21 ÒFrancis was the kind of directorÉÓ: Howard Kazanjian, AI, 10/28/04.
21 ÒWeÕd sit aroundÉÓ: Ibid.
21 ÒHey IÕm here on the lotÉÓ: Ibid. Conversation recounted by Kazanjian.
22 ÒSee anything interesting?Ó: Conversation recounted by Coppola in -- Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992.
23 Òvery anti-story, anti-character kind of guyÉÓ: Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p18.
23 ÒIÕm trying to see what itÕs all aboutÉÓ: ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
23 ÒIÕm not a good writerÉÓ: Sturhahn, Larry.Ó The Filming of American Graffiti,Ó FilmmakerÕs Newsletter, March 1974.
23 ÒYou have to learn to writeÉÓ: gwlHx3wPuB.
23 ÒI was acting irresponsiblyÉÓ: ÒFilmmaker: A Diary by George Lucas,Ó 1970
23 ÒFrancis could sell ice to EskimosÉÓ: Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998, p90.
24 [Mame info]: Karman, Mal. ÒFrancis Ford Coppola,Ó San Francisco Magazine, May 1973.
25 ÒUnless you can get the police...Ó: ÒFilmmaker: A Diary by George Lucas,Ó 1970
26 ÒA lot of my friendsÉÓ: ÒIbid.
26 ÒThe point is, I tried as honestly as I couldÉÓ: Ibid.
26 ÒObviously the concept of a filmmakerÉÓ: Ibid.
27 ÒWe began to feel like Robin HoodÉÓ: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p56.
27 ÒFrancis walked in and saw two arc projectors...Ó: Legacy of Filmmakers: The Early Years of American Zoetrope,Ó produced, written and directed by Gary Leva; © 2004 Warner Bros. Entertainment, Inc.
27 ÒThey said this is exactlyÉÓ: Pollock, Dale. Skywalking: The Life and Films of George Lucas. Da Capo Press, New York, 1999, p85
27 ÒHe inspired us both...Ó: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p57.
27 ÒI kinda went a little crazy...Ó: Legacy of Filmmakers: The Early Years of American Zoetrope,Ó produced, written and directed by Gary Leva; © 2004 Warner Bros. Entertainment, Inc.
28 ÒI had this notion...Ó: Pollock, Dale. Skywalking: The Life and Films of George Lucas. Da Capo Press, New York, 1999, p86
28 [Dropping almost $100,000 overnight]: Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998, p91. Cross referenced with a variety of sources.
28 Knickerbocker, Paine. ÒA Lively New Movie-Making Project for the City,Ó San Francisco Chronicle, Oct. 1969.
27 [tons of new equipment] Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p57.
28 [Laterna] Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998, p91.
28 ÒThe many bedrooms...Ó: Quote by Coppola from the forward to -- Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992.
29 ÒIt was a beautiful place to live...Ó: Pollock, Dale. Skywalking: The Life and Films of George Lucas. Da Capo Press, New York, 1999, p85
28 [Laterna]: Legacy of Filmmakers: The Early Years of American Zoetrope,Ó produced, written and directed by Gary Leva; © 2004 Warner Bros. Entertainment, Inc.
28 ÒI was thrilled to see a beautiful old mansion...Ó Ibid.
28 ÒGeorge and I fantasized...Ó: Quote by Coppola from the forward to -- Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992.
29 ÒWe were a new generation...Ó: Legacy of Filmmakers: The Early Years of American Zoetrope,Ó produced, written and directed by Gary Leva; © 2004 Warner Bros. Entertainment, Inc.
28 ÒThere was no way...Ó: Ibid.
29 [data] AZ Financial Statement as of 1/31/70
30 Ò[After Mr. Jordan], Coppola plans to take off...Ó: ÒCoppola to Set Up Frisco Filmery,Ó Daily Variety, Nov. 27, 1968.
30 ÒDo you know anybodyÉÓ: Lucas recalling conversation with Coppola from -- Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p18.
30 ÒFrancis needed somebody...Ó: Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p13.
30 ÒHere it isÉÓ: Tom Scott, E, paraphrasing conversation between Murch and Malkin.
31 Ò[Francis] didnÕt know me...Ó Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p 55.
32 ÒThe lesson of Easy Rider...Ó: Sweeney, Louise. ÒThe Movie Business is Alive and Well and Living in San Francisco,Ó Show, April 1970, p34.
32 [data] Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p20.
32 ÒWe got a lot of new equipment...Ó: ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
32 ÒI want editing equipment...Ó: Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
32 ÒSomeday, [Lucas] predicts...Ó: Blum, Walter. ÒA Director with New Directions,Ó San Francisco Sunday Examiner and Chronicle, Feb. 1, 1970.
32 ÒTechnology obsessed Francis...Ó: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p16.
33 ÒYou had to admire a guyÉÓ: Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998, p92.
33 [data] Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
33 [General]
Biskind, Peter. Easy Riders, Raging
Bulls. Bloomsbury, London, 1998, p91.
33
[General] Sweeney, Louise. ÒThe Movie Business is Alive and Well and Living in
San Francisco,Ó Show,
April 1970, p3.
33 [data]: Blum, Walter. ÒA Director with New Directions,Ó San Francisco Sunday Examiner and Chronicle, Feb. 1, 1970.
34 [data]: http://slick.org/deathwatch/mailarchive/msg00829.html
34 ÒIs there anybody...Ó: Lucas recounting conversation with Coppola from -- Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p19.
35 ÒWhen George saw 21-87ÉÓ: Silberman, Steve. ÒLife After Darth,Ó Wired, May 2005.
35 Òall interesting, adventurous scripts...Ó: Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
35 [data]: Stone, Judy. ÒGeorge Lucas,Ó San Francisco Chronicle, May 23, 1971.
35 ÒWe wanted the whole picture...Ó: American Cinematographer, 10/71
36 ÒBecause of this...Ó: American Cinematographer, 10/71
36 ÒFrancis was letting me do whatever I wanted...Ó: ÒGeorge Lucas, Maker of Films,Ó PBS interview/documentary 1971.
36 ÒSince I planned to edit the picture myself...Ó gwlHx3wPuB
36 [data]: UPI 5/5/70
36 Òprobably the most advanced filmmaking facility...Ó: CVB Newsletter, 12/23/69
36 ÒThis is a true capitalistic venture...Ó: Sweeney, Louise. ÒThe Movie Business is Alive and Well and Living in San Francisco,Ó Show, April 1970.
37 ÒThe measure of American ZoetropeÕs promise...Ó: Caen, Herb. San Francisco Chronicle, Jan. 8, 1970.
37 ÒIt all seemed terribly chic...Ó: Nachman, Gerald. ÒCoppola of ZoetropeÑOlder, Wiser and Poorer,Ó San Francisco Chronicle, 1971.
37 ÒI go out of the cage...Ó: Sweeney, Louise. ÒThe Movie Business is Alive and Well and Living in San Francisco,Ó Show, April 1970, p82.
37 [data]: Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
38 ÒCoppola envisionsÉÓ: Ibid.
38 ÒZoetrope has already employed...Ó: Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
39 ÒThis is all junkÉÓ: GWL paraphrasing the studios; Vallely, Jean. ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
39 Ò[Warners] went back to hard-core entertainment films...Ó: Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
39 ÒQuiet once more descended...Ó: Nachman, Gerald. ÒCoppola of ZoetropeÑOlder, Wiser and Poorer,Ó San Francisco Chronicle, 1971.
41 ÒOne thing that comesÉÓ: Campbell, Joseph. The Power of Myth. Doubleday, New York, 1988.
41 ÒItÕs been an interestingÉÓ: Nachman, Gerald. ÒCoppola of ZoetropeÑOlder, Wiser and Poorer,Ó San Francisco Chronicle, 1971.
41 [The deal with Paramount was]: Bergan, Ronald. Francis Ford Coppola Close UpÑThe Making of His Movies. ThunderÕs Mouth Press, New York, 1997, p38.
41 ÒA lot of people thoughtÉÓ: Nachman, Gerald. ÒCoppola of ZoetropeÑOlder, Wiser and Poorer,Ó San Francisco Chronicle, 1971.
42 ÒI was left high and dryÉÓ: Vallely, Jean. ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
42 Òa solemn bearded manÉÓ: Pollock, Dale. Skywalking: The Life and Films of George Lucas. Da Capo Press, New York, 1999.
44 ÒLucas is preparing anotherÉÓ: Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
43 ÒYou can do betterÉÓ: http://www.cinescene.com/dash/lumiere.html
43 ÒThe cinema isÉÓ: http://www.holonet.khm.de/visual_alchemy/lumiere.html
47 [A Warhol Mao silkscreen]: Biskind, Peter. Easy Riders, Raging Bulls. Bloomsbury, London, 1998. p167.
47 ÒI was getting a lot of razzÉÓ: Vallely, Jean. ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
48 ÒYou could see the wayÉÓ: Ibid.
48 ÒThis movie is notÉÓ: Ibid.
49 ÒThere was no reasonÉÓ: Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
49 Òa horror film aboutÉÓ: Knapp, Dan. ÒA Visit with Francis Ford Coppola,Ó Performing Arts, June 1970, Vol 4, No. 6.
49 [Walter Murch double-timed]: Ondaatje, Michael. The ConversationsÑWalter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p166.
49 [He
bought a radio station]: Biskind, Peter.
Easy Riders, Raging Bulls.
Bloomsbury, London, 1998, p167.
50 ÒWhen the idea took himÉÓ: Clouzot, Claire. ÒThe Morning of the Magician: George Lucas and Star Wars,Ó Ercan, Sept. 15, 1977 (Translated from French by Alisa Belanger).
50 ÒItÕs James Bond and 2001ÉÓ: Farber, Stephen. ÒGeorge Lucas: The Stinky Kid Hits the Big Time,Ó Film Quarterly, Vol 27, No. 3. Spring 1974.
51 [They turned the dining room]: Deborah Brown Mitchie, AI, 9/23/04.
52 Òhe could make a little wineÉÓ: http://www.niebaum-coppola.com/site.php
52 [He and Eleanor bought]: Bergan, Ronald. Francis Ford Coppola Close UpÑThe Making of His Movies. ThunderÕs Mouth Press, New York, 1997, p52.
53 [While Lucas began to work]: Jenkins, Gary. Empire BuildingÑThe Remarkable Real Life Story of Star Wars. Citadel Press, New Jersey, 1997, p57.
55 ÒMany people feelÉÓ: 21-87, by Arthur Lipsett Ð (audio track courtesy of Steve Silberman).
55 ÒI took that scriptÉÓ: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
56 ÒI couldnÕt describe in wordsÉÓ: AI, anonymous employee.
57 ÒThe lightsabers, in particularÉÓ: Gary Kurtz, AI, 3/14/05.
57 Òused spaceÉÓ: Jenkins, Gary. Empire BuildingÑThe Remarkable Real Life Story of Star Wars. Citadel Press, New Jersey, 1997, p61.
57 ÒMass of computer lightsÉÓ: Lucas, George; Star Wars manuscript.
57 Òsomeone in an airtight garmentÉÓ:Ibid.
58 ÒWhen I made the dealÉÓ: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
58 ÒIÕll do it for the dealÉÓ: Ibid.
59 ÒI have a particular affectionÉÓ: Clouzot, Claire. ÒThe Morning of the Magician: George Lucas and Star Wars,Ó Ercan, Sept. 15, 1977 (Translated from French by Alisa Belanger).
59 ÒWe need anotherÉÓ: Ben Burtt, AI, 10/28/04.
60 [They talked about an early]: Ben Burtt, E, 11/15/04.
60 ÒI was very interested inÉÓ: Ben Burtt, AI, 10/28/04.
60 ÒIt was just a hobbyÉÓ: Ibid.
60 [A week after meeting]: Web: usc alum website ÒInmotionÓ
60 [Kurtz got Burtt a Nagra tape recorder]: http://www.filmsound.org/starwars/burtt-interview.htm
60 ÒI was really sort of a PAÉÓ: Ben Burtt, AI, 10/28/04.
60 ÒIn my first discussion with GeorgeÉÓ: http://www.filmsound.org/starwars/ -- from Film Sound Today.
61 [Trumbull became one]: Greenwald, Jeff, Wired, TrumbullÕs Vision, Jan 1997.
63 [When the roll-up doors]: Smith, Thomas G. Industrial Light & Magic: The Art of Special Effects. Ballantine Books, New York, 1986, p13.
64 ÒKubrick was a nutÉÓ: Gary Kurtz, AI, 3/14/05.
64 ÒGeorge is a story tellerÉÓ: Richard Edlund, AI, 3/14/05.
65 ÒWe walked into the roomÉÓ: Ibid.
67 ÒGeorge thought thatÉÓ: Larry Cuba, AI, 10/26/04.
67 [Star Wars was still]: Ibid.
67 ÒR2 needs a voiceÉÓ: Edwards, Gavin. ÒThe Cult of Darth Vader,Ó Rolling Stone, June 2, 2005.
67 ÒIt was clear he wasÉÓ: Gary Kurtz, AI, 3/14/05.
67 Òwhen I was hiredÉÓ: Ben Burtt, AI, 10/28/04.
67 Òa savage looking creatureÉÓ: Lucas, George. Star Wars script, p44.
69 Ò[Burtt] came up with thisÉÓ: Edwards, Gavin. ÒThe Cult of Darth Vader,Ó Rolling Stone, June 2, 2005.
70 ÒYou have bits and fragmentsÉÓ: http://www.filmsound.org/starwars/
70 [Sound Effects]: Trivia from IMDB. Ben Burt corrected via email, 11/23/04.
71 ÒThe studio was stressing outÉÓ: Richard Edlund, AI, 3/14/05.
71 ÒThe opening shot of Star WarsÉÓ: Gary Kurtz, AI, 3/14/05.
71 ÒOptical printing wasÉÓ: Richard Edlund, AI, 3/14/05/.
72 ÒI couldnÕt get the computerÉÓ: Larry Cuba, AI, 10/26/04.
72 ÒThese inventions were utterlyÉÓ: Richard Edlund, AI, 3/14/05/.
72 ÒI felt like, if we were really luckyÉÓ: Ben Burtt, web: USC interview.
73 ÒAt that pointÉÓ: Thomas Brown, E, 11/2/04, paraphrasing Jerry Jeffress.
Chapter 5: The Rebirth of Lucasfilm
75 ÒWhen one manÉÓ: http://www.cousteau.org/en/heritage/captain/interviews.php (from ÒDiving for Sunken TreasureÓ); http://www.brainyquote.com/quotes/authors/j/jacques_yves_cousteau.html
75 [Soon they were joined by GeorgeÕs pals]: Smith, Jim. George Lucas. Virgin Books, London, 2003, p80.
75 ÒWeÕd sit around and wait...Ó: Indiana Jones documentary;
75 [hypertension and exhaustion]: Smith, Jim. George Lucas. Virgin Books, London, 2003, p67.
76 [two months]: Ibid., p.79
76 [Poster]: People, July 18, 1977.
76 ÒGalactica kept the teamÉÓ: Richard Edlund, AI, 3/14/05.
78 ÒI had visions of R2-D2 mugs...Ó: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
76 ÒI donÕt want to be a businessmanÉÓ: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
78 ÒI prefer playing with camera film...Ó: Clouzot, Claire. ÒThe Morning of the Magician: George Lucas and Star Wars,Ó Ercan, Sept. 15, 1977 (Translated from French by Alisa Belanger).
79 ÒL.A. is where they make deals...Ó: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
79 ÒDo you want to meet George Lucas?Ó: Charlie Webber, AI, 3/12/04.
80 ÒWe both like the Victorian style of architectureÉÓ: Woods, Lynn. ÒThe Skywalker Ranch and Skywalker Art Glass Studio,Ó The American Art Glass Quarterly, Fall 1982.
80 ÒI had to direct 500 people on Star WarsÉÓ: Clouzot, Claire. ÒThe Morning of the Magician: George Lucas and Star Wars,Ó Ercan, Sept. 15, 1977 (Translated from French by Alisa Belanger).
81 ÒThere will be a main building...Ó: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
81 ÒIt was really an extraordinary dream...Ó: Pollock, Dale. Skywalking: The Life and Films of George Lucas. Da Capo Press, New York, 1999, p208.
82 ÒWhenever George was in the cutting roomÉÓ: Duwayne Dunham, AI, 5/06/05.
82 [plaster dust falling] LFL Yearbook 1987
83 ÒWe were all very undercover...Ó: Richard Edlund, AI, 3/14/05/.
84 ÒWhat can we do that makes this whole thing easier?Ó: Gary Kurtz, AI, 3/14/05.
86 ÒWe ordered some precision optical glass...Ó: Gary Demos, AI.
87 ÒThere were some problems...Ó: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
87 ÒIt was one of those odd thingsÉÓ: Gary Kurtz, AI, 3/14/05.
89 ÒWould I be interested in working for George Lucas?Ó: Story recounted by Jim Kessler. Jim Kessler, AI, 3/8/04
91 ÒHey, Marin County is a great place to liveÉÓ ÒTruth be told...Ó: Story recounted by Ralph Guggenheim. Ralph Guggenheim, AI, 6/12/02
Chapter 6: The Godfather of
Electronic Cinema
93 Òbimonthlies.Ó Clark Higgins, AI, 6/19/02
93 ÒWe bought a couple of those very first Beta machinesÉÓ : ÒConversation with Francis,Ó Videography, Sept. 1982.
93 ÒMake a better telephone...Ó: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p3.
94 [video editing suite]: Savage, Golda. ÒCoppolaÕs Electronic Cinema Process,Ó Millimeter, Oct. 1981.
94 ÒThis is a crude systemÉÓ: The Making of Star Wars: Revenge of the Sith, by J.W. Rinzler (Random House, 2005)
96 ÒI agreed to shoot The Party...Ó: Les Blank. AI, 8/23/04.
96 [truck pulled inside]: Clark Higgins, AI, 8/19/04.
97 ÒFrancis wanted us to take the journey up river with KurtzÉÓ: Mickey Hart, AI, 3/17/05.
97 ÒIs there anything you can do to help?Ó: Clark Higgins, AI, 8/19/04.
104 ÒI wanted to create...Ó: Alexander Schure, AI, 3/09/05.
104 ÒSawyers went wild about this stuffÉÓ: Howard Spielman, AI, 9/9/04.
105 ÒAlex was pretty impressed...Ó: Pete Ferentinos, AI, 3/24/05
107 ÓA display connectedÉÓ: http://www.cc.gatech.edu/classes/cs6751_97_fall/projects/abowd_team/ivan/ivan.html
110 ÒThe best way to predictÉÓ: http://www.smalltalk.org/alankay.html
113 ÒMoney has a way of changing peopleÕsÉÓ: Alvy Ray Smith. "Digital Paint Systems: An Anecdotal and Historical Overview," IEEE Annals of the History of Computing, vol. 23, no. 2, pp. 4-30, April-June, 2001.
Chapter 8: The Train Wreck
116 [The problem was that]: Perry. Tekla. S. ÒAnd the Oscar Goes toÉ.Ó IEEE Spectrum, April 2001 Volume 38, No. 4, www.spectrum.ieee.org/careers/careerstemplate.jsp?ArticleId=p040101
116 [significantly more time]: Ibid.
116 [Surfaces were solid colors]: Ibid.
117 [After an image was rendered]: Alvy Ray Smith notes 11/9/04
117 ÒI realized that since IÉÓ: Ed Catmull history doc, E, 11/04
117 [He called this]: E, Ed Catmull 11/13/04
117 ÒZ-buffer.Ó: Perry. Tekla. S. ÒAnd the Oscar Goes toÉ.Ó IEEE Spectrum, April 2001 Volume 38, No. 4, www.spectrum.ieee.org/careers/careerstemplate.jsp?ArticleId=p040101
119 ÒThe moment I firstÉÓ: Tom Brown, E, 11/2/04.
120 ÒIt was serial jammingÉÓ: Alvy Ray Smith, notes, 11/9/04.
120 ÒWe continued the nightlyÉÓ: Alvy Ray Smith, notes, 11/9/04.
122 ÒIf I were you guysÉÓ: David DiFransesco, AI, 3/19/04.
129 ÒIt was almostÉÓ: Alvy Ray Smith, E, 5/5/05.
130 [They never completedÉ]: Howard Spielman, AI, 9/9/04; also in notes from Alvy Ray Smith.
130 ÒAs for meÉÓ: Ed Catmull, E, 12/22/04.
132 ÒThe numbers were simplyÉÓ: Ed Catmull, E, 10/8/04.
133 Òall very expensiveÉÓ: Rodney Stock, AI, 10/25/04.
133 [Their response to the problems]: Ibid.
134 ÒOkayÉÓ: Tom Porter, AI, 3/19/04.
134 ÒWe were trying to inventÉÓ: Ed Catmull, E, 10/8/04.
135 ÒI hoped theyÕd consider meÉÓ: Ralph Guggenheim, E, 12/27/04.
137 ÒYou take every aspectÉÓ: Gary Demos, AI, 9/10/04.
139 ÒIt was one of those gorgeousÉÓ: Alvy Ray Smith, AI, 6/11/02.
139 ÒGeorge is a practical filmmakerÉÓ: Ed CatmullÕs history (draft) 9/19/95.
141 ÒWe wanted to makeÉÓ: Alvy Ray Smith, E, 5/23/05.
145 ÒFirst, you canÕt always tellÉÓ: Ed Catmull, E, 10/8/04.
145 ÒI always thought it was coolÉÓ: Ed Catmull, E, 12/22/04.
146 ÒI wanted to be an architectÉÓ: OÕQuinn, Kerry; Starlog, 1981 (from George Lucas: Interviews, p132)
149 ÒFrancis was constantly burdenedÉÓ: Thomas Brown, AI, 6/21/02.
149 ÒCoppola has a naturalÉÓ: Haller, Scot. ÒFrancis CoppolaÕs Biggest Gamble,Ó Saturday Review, July 1981.
150 ÒUsing the power I had becauseÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992, pg 76.
150 [It would serve as anÉ]: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p144.
151 [Lucas and Catmull had agreedÉ]: George Lucas, AI, 4/28/04.
151 Òmay or may notÉÓ: Ibid.
151 [About what they thoughtÉ]: ÒThe Empire Strikes Back and So Does Filmmaker George Lucas with his Sequel to Star Wars,Ó Rolling Stone, June 12, 1980.
153 ÒI think the feeling wasÉÓ: Susan Anderson Catmull, AI, 9/21/04.
153 ÒI knew I wanted to be moreÉÓ: Susan Anderson Catmull, AI, 9/21/04.
153 ÒIÕve painted this damn cityÉÓ: Zoetrope Studios. ÒElectronic Imagery Conference,Ó Transcription, 1980, p42.
156 ÒI donÕt want to haveÉÓ: Rob Lay, AI, n.d. 1985.
157 [At a time when consumersÉ]: Rubin, Michael. Nonlinear v4ÑA Field Guide to Digital Video and Film Editing. Triad, Florida, 2000, p48.
157 ÒIÕve been looking atÉÓ: Ralph Guggenheim, AI, 8/20/04.
158 [Lucasfilm would send themÉ]: Ralph Guggenheim, LFL History Project, Interview by Pamela Glintenkamp, 1/30/02.
159 [An extraordinary quantityÉ]: Ralph Guggenheim, AI, 8/20/04.
159 ÒWe had to jump aroundÉÓ: Ralph Guggenheim, LFL History Project, Interview by Pamela Glintenkamp, 1/30/02.
159 Òand I always hoped peopleÉÓ: Haller, Scot. ÒFrancis CoppolaÕs Biggest Gamble,Ó Saturday Review, July 1981.
160 ÒWhile our current system hadÉÓ: ÒThe Brave New World of HDTV,Ó Broadcasting, Feb. 1, 1982.
161 [Dating back to the silent movie daysÉ]: Zoetrope Studios. ÒElectronic Imagery Conference,Ó Transcription, 1980, p9. also TB interview
161 ÒWhy donÕt you come up and seeÉÓ: http://www.hollywoodcenter.com/history/story_130.php
164 ÒIt involves an individual losingÉÓ: Zoetrope Studios. ÒElectronic Imagery Conference,Ó Transcription, 1980.
164 ÒHe went for hours and hours talkingÉÓ: Alvy Ray Smith, E, 8/21/04.
166 ÒBut I was never uncertainÉÓ: Alvy Ray Smith, E, 8/21/04.
168 ÒWhere the Alto was builtÉÓ: Andy Bechtolsheim, AI, 10/28/04.
168 ÒNo one saw the opportunityÉÓ: Ibid.
170 ÒLucasfilm was the ideal customerÉÓ: Ibid.
170 [He settled on his son LouisÉ]: Notes from Alvy Ray Smith, 11/11/04
170 ÒHis real love had been tennisÉÓ: Tom Duff, AI, 8/18/04.
171 ÒWhile I did want people to join meÉÓ: Ed Catmull, E, 12/29/04.
171 ÒI was in discussions about a jobÉÓ: Bill Reeves, AI, 3/19/04.
172 [Vector graphics were drawn inÉ]: Alvy Ray Smith, E, 8/21/04.
172 ÒWhat would you rather haveÉÓ: Andy van Dam, AI, 5/26/04.
172 [But no one really imagined how fast the priceÉ]: http://www.intel.com/research/silicon/mooreslaw.htm
173 [Carpenter would go to work earlyÉ]: Rachel Carpenter, AI, 9/14/04.
174 ÒI threw the problem back into my subconsciousÉÓ: Perry. Tekla. S. ÒAnd the Oscar Goes toÉ.Ó IEEE Spectrum, April 2001 Volume 38, No. 4, www.spectrum.ieee.org/careers/careerstemplate.jsp?ArticleId=p040101
174 ÒIt was totally stunningÉÓ: Loren Carpenter, AI, 3/18/04.
175 ÒBut who was I, some programmer at BoeingÉÓ: Perry. Tekla. S. ÒAnd the Oscar Goes toÉ.Ó IEEE Spectrum, April 2001 Volume 38, No. 4, www.spectrum.ieee.org/careers/careerstemplate.jsp?ArticleId=p040101
175 ÒI wanted to see myÉÓ: Loren Carpenter, AI, 3/18/04.
175 ÒI had to make a movieÉÓ: Ibid.
177 ÒIt was pure sex appealÉÓ: Tom Porter, AI, 3/19/04.
179 ÒFrancis would never askÉÓ: Clark Higgins, AI.
179 ÒAfter ApocalypseÉÓ: Thomas Brown, AI, 12/12/04.
182 ÒYou have a reputationÉÓ: Thomas Brown, AI, 6/21/02.
182 ÒZoltanÉÓ: Zoetrope Studios. ÒElectronic Imagery Conference,Ó Transcription, 1980, p14.
182 ÒI
was surrounded by the best specialÉÓ: Thomas Brown, E, 10/15/04.
182 ÒIt was natural that thereÉÓ: Thomas Brown, AI, 6/21/02..
183 [Brooksfilms had a deal with ZoetropeÉ]: Ibid.
183 ÒFrom our first meetingsÉÓ: Savage, Golda. ÒCoppolaÕs Electronic Cinema Process,Ó Millimeter, Oct. 1981.
184 ÒItÕs like IÕm at a poker tableÉÓ: Haller, Scot. ÒFrancis CoppolaÕs Biggest Gamble,Ó Saturday Review, July 1981.
185 ÒWe went around asking companiesÉÓ: ÒFrancis CoppolaÕs One From the Heart,Ó American Premiere, Feb. 1982.
185 ÒThereÕs no such thing asÉÓ: Thomas Brown, AI, 12/12/04.
186 ÒThe first thing we all didÉÓ: Thomas Brown, AI, 6/21/02.
186 [Francis asked Dean TavoularisÑthe art directorÉ]: Ibid.
186 ÒIt was a next-generation systemÉÓ: Thomas Brown, AI, 12/12/04.
186 [He
agreed that the blisteringly fast searchÉ]: ÒConversation with Francis,Ó
Videography, Sept. 1982.
187 ÒThe whole ideaÉÓ: Savage, Golda. ÒCoppolaÕs Electronic Cinema Process,Ó Millimeter, Oct. 1981.
187 ÒAny time a new tool is createdÉÓ: Thomas Brown, E, 1/8/05.
187 ÒThe intense reaction of this volatileÉÓ: Savage, Golda. ÒCoppolaÕs Electronic Cinema Process,Ó Millimeter, Oct. 1981.
189 ÒÕNever before in historyÉÕÓ: ÒSound Doctrine: An Interview with Walter MurchÓ by Michael Jarrett, Film Quarterly, Spring 2000
190 ÒI only discovered film neededÉÒ: Ondaatje, Michael. The Conversations Ñ Walter Murch and the Art of Editing Film. Alfred A. Knopf, New York, 2002, p11.
190 Òan early, technically primitiveÉÓ: Ibid., p7.
190 [Forbidden
Planet]: http://sfstation.members.easyspace.com/fbessay.htm
http://www.moviediva.com/MD_root/reviewpages/MDForbiddenPlanet.htm
192 ÒThey were jumping outÉÓ: From Vintage Synthesizers, (Backbeat Books) by Bob Moog and Connor Freff Cochran (and reprinted on the web - http://www.synthmuseum.com/moog/ - At Amazon-http://www.amazon.com/exec/obidos/tg/detail/-/0879306033/ref=ase_synthmuseumcom/102-9311989-3816147?v=glance&s=books
192 [When CarlosÕ album Switched on BachÉ]: http://www.intuitivemusic.com/tguidewendycarlos.html says 1967
192 [Switched on Bach] : http://www.wendycarlos.com/photos.html
194 ÒEvery time we added up what youÕd haveÉÓ: Andy Moorer, LFL History Project, Interview by Pamela Glintenkamp, 1/22/02.
195 Òand I thought, that's all you have to doÉÓ: http://www.tdolby.com/index_frameset.html
195 [The DX-7 went on to sell more than]: Web history of computer music www.csounds.com
196 ÒIf youÕre here for what I think youÕre hereÉÓ: Andy Moorer, LFL History Project, Interview by Pamela Glintenkamp, 1/22/02.
197 [An old laundromat, it was located on Tunstead Avenue, acrossÉ]: Ibid.
199 ÒI didnÕt ask for that roleÉÓ: Jim Kessler, E, 12/6/04.
199 ÒThese were like two different worlds in the same environmentÉÓ: David DiFrancesco, AI, 6/19/04.
201 ÒTo make us happyÉÓ: Alvy Ray Smith, notes, 12/2/04.
202 [Nothing about making animated moviesÉ]: Andy Moorer AI, 6/24/02.
202 [It wasnÕt in his charter, but EdÉ]: Tom Porter, AI, 3/19/04.
203 ÒHe explained it to me in a very elementary but very understandable wayÉÓ: Jim Kessler, AI 3/8/04.
203 ÒBut when that happens, when we can effectively make waterÉÓ: Jim Kessler, AI, 3/8/04; recalling a conversation with Smith.
203 ÒYou know, weÕre starting to be able to simulate actorsÉÓ: Gary Demos, AI, 9/10/04.
209 [History of BASIC]: http://www.linuxfocus.org/English/January2003/article277.shtml
209 [Microcomputer background]
http://www-db.stanford.edu/pub/voy/museum/pictures/display/4-5-apple.htm
http://www-db.stanford.edu/pub/voy/museum/galaxy.html
213 [As soon as Weber finished reading the noteÉ]: Ira Friedman, http://www.brmovie.com/Magazine/Ira_Friedman.htm
213 ÒShock waves ran through the placeÉÓ: Ibid.
213 ÒItÕs a bit of a misnomer being CEO of LucasfilmÉÓ: Robert Greber, AI, 5/14/04.
214 ÒMostly
because we needed more space ÉÓ: Paraphrased from Jim Kessler, AI 24AB line 220.
215 ÒIt
could be done for a lot less money up hereÉÓ: Jim Kessler, AI, 4/7/04.
216 ÒBring
a new level of quality to filmÉÓ: Tom Holman, AI, 11/22/04.
217 ÒAlvy
just didnÕt want to be away from the actionÉÓ: Susan Anderson Catmull, AI, 9/21/04.
217 [At
the outset, it was decided that once the RanchÉ]: Woods, Lynn. ÒThe
Skywalker Ranch and Skywalker Art Glass Studio,Ó The
American Art Glass Quarterly, Fall 1982.
218 ÒI
joined Lucasfilm in November and EmpireÉÓ: Susan Anderson Catmull, AI, 9/21/04.
219 ÒClark
had always been interested in extra-terrestrialsÉÓ: Thomas Brown, AI 6/21/02.
220 ÒGo
do itÉÓ: Clark Higgins,
AI, 6/19/02.
220 ÒWorking
for Francis was very dynamicÉÓ: Clark Higgins, AI, 6/19/02.
220 ÒWe
couldnÕt build the systems fast enoughÉÓ: Ibid.
220 ÒWe
were removed from productionÉÓ: Ibid.
220 ÒI
was blown away by what little budgetÉÓ: Ibid.
221 ÒI
donÕt believe we had second-rate equipmentÉÓ: Ralph Guggenheim, E, 1/2/05.
222 ÒIn
short, they needed computers and softwareÉÓ: Jim Kessler, AI (paraphrased), 3/8/04.
222 ÒHe
thought this overseeing business was prettyÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry N. Abrams
Inc., USA, 1992, p88.
223 ÒLucas
made it possible to make the film with no interferenceÉÓ: Ibid.
223 [Òstate-of-the
artÓ that Lucas wantedÉ]: Tom Holman, E, 11/20/04
227 ÒAnd
that really changed the deal for usÉÓ: Nick England, AI, 11/29/04.
227 ÒSomewhere
along the lineÉÓ:
Ibid.
228 ÒAlvyÑif
nothing elseÑis prolificÉÓ: Rodney Stock, AI, 10/25/04.
228 [Alvy
was certain it needed to be catchyÉ]: Loren Carpenter, AI, 3/18/04.
229 ÒYou
know, ÔarÕ is another Spanish verbÉÓ: Alvy Ray Smith, AI 6/11/02.
230 ÒOnce you could do the image
manipulations requiredÉÓ: Ralph Guggenheim, LFL History Project, Interview by Pamela Glintenkamp, 1/30/02. (edited via E)
232 [There was no sound on the printÉ]: Jim Kessler, AI, 4/7/04.
232 [After only one viewing, more than half the prints showed visible scarsÉ]: Lucasfilm Ltd. ÒTAP Presentation,Ó 1985.
232 ÒYou
make all these great soundsÉÓ: Jim Kessler, AI, 3/8/04.
233 ÒItÕll
be great for the industry. We can startÉÓ: Jim Kessler, AI, 4/7/04.
233 ÒTheyÕre
symbioticÉitÕs a love-hate relationshipÉÓ: Ibid.
234 ÒIt
turns out to be the perfect modelÉÓ: Perry. Tekla. S. ÒAnd the Oscar Goes toÉ.Ó IEEE
Spectrum, April 2001 Volume 38, No. 4, www.spectrum.ieee.org/careers/careerstemplate.jsp?ArticleId=p040101
234 ÒÕAlvy,ÕÓ
he said, ÒÕyou should look at this guyÉÕÓ: Alvy Ray Smith, AI, paraphrasing Blinn.
234 ÒThere
are about a dozen great computer graphics peopleÉÓ: http://accad.osu.edu/~waynec/history/tree/jpl.html
234 ÒI
had no idea this was comingÉÓ: Rob Cook, AI, 9/8/04.
235 ÒIt made senseÉÓ: Bill Reeves, E, 11/28/04.
235
ÒI sit, I view the screen, I talk to the screenÉÓ: ÒFrancis CoppolaÕs One From
the Heart,Ó American Premiere,
Feb. 1982.
236 ÒI
want to make a very stylized loveÉÓ: Kilday, Gregg.
ÒFrancis Ford Coppola Forges a Bold New Moviemaking Experiment Around Video,Ó Home Video, May 1981.
236 Òstate-of-the-art
synthesis of all the new technologyÉÓ: Ibid.
236 ÒAt
the end of each week we generally had a wrap partyÉÓ: Thomas Brown, AI, 6/21/02.
236 ÒIf
we ever had a lot of moneyÉÓ: Haller, Scot. ÒFrancis CoppolaÕs Biggest Gamble,Ó Saturday Review, July 1981.
237 ÒSeeing
them play with one anotherÉÓ: Alvy Ray Smith, E, 8/21/04.
237 ÒPeople
ask me if all this technologyÉÓ: ÒFrancis CoppolaÕs One From the Heart,Ó American Premiere, Feb. 1982.
238 ÒFrancis
gave this dazzling performanceÉÓ: Thomas Brown, AI, 12/11/04.
239 ÒOne
of the reasons the sets were so niceÉÓ: Ibid.
239 [They
watched, mortified and scribbling notesÉ]: Rick McCallum, AI, 6/3/05.
240 ÒIt
was like putting them into real world conditionsÉÓ: Thomas Brown, AI, 12/12/04.
240 ÒWeÕre
an end-userÉÓ: ÒThe
Brave New World of HDTV,Ó Broadcasting,
Feb. 1, 1982.
240 [He
couldnÕt imagine working in a medium that he couldnÕt hold up]: Hanauer,
Gary. ÒThe New Movie MakersÑafter the advent of computers, movies may never be
the same,Ó Northwest Orient Passages,
Nov. 1982.
240 ÒThe
old ways must die away and give way to new lifeÉÓ: ÒThe Brave New World of
HDTV,Ó Broadcasting, Feb.
1, 1982.
241 ÒWe kept waiting for George to come aroundÉÓ: Alvy Ray Smith, LFL History Project, Interview by Pamela Glintenkamp, 1/23/02.
241 ÒWe got treated as a sideshowÉÓ: Tom Porter, AI, 3/19/04.
243 ÒWeÕre married and work together;
other people can be marriedÉÓ: Susan Anderson Catmull, AI, 9/21/04.
246 ÒIf
you simulate your physicsÉÓ: Alvy Ray Smith, E, 11/16/04.
246 ÒOkay.
IÕm going to go back and put someÉÓ: Alvy Ray Smith, LFL History Project, Interview by
Pamela Glintenkamp, 1/23/02.
247 ÒThis
is a sixty-second commercial to GeorgeÉÓ: Alvy Ray Smith, email notes 11.04.
248 ÒBill
was dealing with the 3-D particlesÉÓ: Tom Porter, E, 7/27/04.
249 ÒAh,
take that! Take thatÉÓ: Rob Cook, AI, 9/8/04.
250 ÒIt
was really excitingÉÓ:
Pat Cole, AI, 12/20/04.
250 Òextinct
before it was even hatchedÉÓ: Harter press release NAB 1984.
250 [For the effects teams it was an absolute godsendÉ]: Ralph Guggenheim, LFL History Project, Interview by Pamela Glintenkamp, 1/30/02.
254 ÒAn
evil outfit called the Murkworks, led by a devilish character calledÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry
N. Abrams Inc., USA, 1992, p88.
254 ÒLet
us do the mixÉÓ:
Jim Kessler, AI, 4/7/04.
255 ÒThey wanted that sound in their new facilitiesÉÓ: Tom Holman, notes, 11/20/04.
259 ÒGeorge
was clearly proud to bring his buddies byÉÓ: Tom Porter, AI, 3/19/04.
259 ÒWe
were all terribly excitedÉÓ: Alvy Ray Singer, E, 9/5/04.
261 ÒWe
were so disconnected from George it was ridiculousÉÓ: Clark Higgins, AI, 6/19/02.
261 ÒIt
seemed to me that the company was carefully designed to protectÉÓ: Malcolm Blanchard, AI, 5/4/04.
262 ÒWhen
SUN got funded in February 1982ÉÓ: Andy Bechtolsheim, AI, 10/28/04.
265 ÒAfter
about two hours of this, IÕm thinking thereÉÓ: Malcolm Blanchard, AI, 5/4/04.
265 [By
the summer of 1982]: John Snell, AI, 11/19/04.
267 ÒI
thought of it as a real-time interfaceÉÓ: Ibid.
268 ÒPeople
were working way too muchÉÓ: Bob Greber, AI, 5/14/04.
268 ÒThey
worked very peculiar hours and I thinkÉÓ: Ibid.
268 [George
heard AnnieÕs scratch track each time he reviewed the scene]: IMDB.
269 ÒI
went over to ILM and satÉÓ: Susan Anderson Catmull, AI, 9/21/04.
271 ÒTRON signals the emergence of the
Walt Disney organizationÉÓ: Cinefx, April 1982.
271 [TRON came out July 9, 1982]: Alvy Ray
Smith, E, 9/4/04.
271 ÒThe
studios didnÕt pay any attention to TRON because they only pay attentionÉÓ: Ed Catmull, E, 12/22/04.
273 ÒI
think they wanted to show offÉÓ: Bob Doris, AI, 9/30/04.
273 [Bob
and Ed agreed that in spite of Digital ProductionsÉ]: Ibid.
273 ÒWe
felt getting a Cray computer would blowÉÓ: Ed Catmull, E., 5/27/05.
274 ÒWe
had a hell of a time with namesÉÓ: Alvy Ray Smith, AI, 6/11/02.
275 ÒIt
seemed sort of crazy at the timeÉÓ: Perry. Tekla. S. ÒAnd the Oscar Goes toÉ.Ó IEEE
Spectrum, April 2001 Volume 38, No. 4,
www.spectrum.ieee.org/careers/careerstemplate.jsp?ArticleId=p040101
277 ÒThere
was no way we could get control in real time movingÉÓ: Tom Duff, AI, 8/18/04.
278 ÒThe
effect wasnÕt so groundbreakingÉÓ: Tom Duff, AI, 8/18/04.
278 [They
had just finished doing 45 shots for SpielbergÕs E.T and Poltergeist]: 1983 Lucasfilm yearbook.
279 ÒYou
donÕt turn a switchÉÓ:
Bob Doris, AI, 10/22/04.
279 ÒWe
decided to provide a service for every theater showing JediÉÓ: Director of TAP 6/84.
279 ÒWe
wanted the film to be seen in the way it was intended to be seenÉÒ: Box Office, June. 1984.
280 [These
included Indy II]: 5/25/84.
280 [Star
Trek III]: 6/1/84.
280 ÒI
remember driving to take George water skiingÉÓ: Jim Kessler, AI, 4/7/04.
280 [A
new stereo set-up might run $15,000]: Box Office, February, 1984.
280 [Contrary
to the publicÕs perception, the problem wasnÕt that the volumeÉ]: Jones,
Bill. ÒThanks to George Lucas, the force is with movie dialogue,Ó The Phoenix Gazette, May 29,
1984.
281 ÒPeople
have been asking the question for years: what does THX stand forÉÓ: Tom Holman, E notes, 11/20/04.
281 [ThatÕs
what THX neededÉ]: Jim Kessler, AI, 3/8/04.
281 ÒI
didnÕt dare show anyone anything until it was finishedÉÓ: Jim Kessler, E, 12/6/04.
281 ÒItÕs
gotta swirl around and it should be like this really bigÉÓ: Jim Kessler, AI, 3/8/04
281 ÒWe
need a theme for thisÉsomething really really bigÉÓ: Andy Moorer, LFL History
Project, Interview by Pamela Glintenkamp,
1/22/02.
284 ÒThatÕs
a lot of multiple exposures, and if you make a mistake, you have to start
overÉÓ: Lehrman,
Paul. ÒDigicon 83,Ó Creative
Computing, April 1984.
285 ÒEither
you are a geniusÉÓ:
Andy Moorer, E., 10/10/04.
286 ÒSteven
and I had discussed Billy Meier at the 1982 Christmas partyÉÓ: Clark Higgins, E, 12/30/04.
287 [Soon
Clark got called into Ed CatmullÕs office. Bob Doris was there. So was Ralph ]:
Clark Higgins, AI, 6/19/02.
287 ÒItÕs
about time.Ó: Ed
Catmull, AI, 3/12/04.
291 ÒWe treated programmers like mini-godsÉÓ: Dolan, Mike. ÒBehind the Screens: An insiderÕs oral history of the videogame, from the birth of the Brown Box to the arrival of XboxÓ; Wired, May 2001. www.wired.com/wired/archive/9.05/history.html.
292
[Then from MCA]: Video Business, July 1982.
292 ÒIt
wasnÕt a game companyÉÓ: Manny
Gerard, AI, 8/13/04.
292 ÒIÕve seen the future and itÕsÉÓ: Ibid.
292 ÒThereÕd
be no way to motivate themÉÓ:
Ibid.
292 Òlosing a toe in an industrial accidentÉÓ: http://www.brainyencyclopedia.com/encyclopedia/c/ch/channel_f.html
293 ÒItÕs over for the VCSÉÓ: Bushnell conversation recalled by Manny Gerard, AI, 8/13/04.
293 ÒLook, the guy I bought this company from just told meÉÓ: Ross conversation recalled by Manny Gerard, Ibid.
293 ÒÕRay,ÕÓ explained GerardÉÓ: Ibid.
293 ÒNolan,
youÕre
out of hereÉÓ: Dolan,
Mike. ÒBehind the Screens: An insiderÕs oral history of the videogame, from the
birth of the Brown Box to the arrival of XboxÓ; Wired,
May 2001. www.wired.com/wired/archive/9.05/history.html
294 Òhigh-strung
prima donnasÉÓ: All
over the web: http://www.heartbone.com/comphist/Atari.htm
AND http://www.atariage.com/trivia_list.php
et al.
294 [There,
the game was so popular that entire arcadesÉ]:
http://www.classicgaming.cc/classics/spaceinvaders/history.php
295 [Kay
was given an unlimited budget to follow two directivesÉ]: Alan Kay quote in
Business Week, 9/13/82
296 ÒFrom
$75 million, to $432 million, to a billion-oneÉÓ: Manny Gerard, AI, 8/13/04.
296 [They
ate together in a corporate dining room...]: Bob Doris, AI, 6/14/02.
296 ÒI
donÕt give a shit who you areÉÓ: Manny Gerard, AI, 8/13/04.
296 [In
time there were special projects all over the placeÉ]: Doug Crockford, AI,
9/25/04.
296 ÒÕAt
that time,Õ recalled Atari researcher Doug CrockfordÉÓ: Ibid.
297 ÒThese
guys have terrific technologyÉÓ: Manny Gerard, AI, 8/13/04.
297 [Ultimately,
Lucas conceded, as long as Atari funded the projectÉ]: Bob Doris, AI, 6/14/02.
298 Òa
precedent-shattering master toy licenseÉÓ: Marc Peevers, VP Licensing, Fox (in) Baxter,
John. George LucasÑA Biography.
Harper Collins, London, 1999.
299 ÒLucasfilm
is a highly talented, creative bunchÉÓ: Landro, Laura. ÒAtari and Lucasfilm Plan Joint
Venture in Video Products,Ó Wall
Street Journal, June 7, 1982.
299 Òdramatically
affect the evolution of the electronic entertainment industryÉÓ: San Francisco Examiner, 6/8/82.
299 ÒI
was really impressedÉÓ: Doug Crockford, AI, 9/25/04.
299 [Within
a year he had built a range of unusual gamesÉ]: Schrage, Michael.
ÒRaiders Meets Invaders,Ó American
Film, Sept. 1982.
300 ÒMy
approach to programming is intuitiveÉÓ: Ibid.
301 ÒEventually
I said yesÉÓ: Peter
Langston, AI, 6/20/02.
301 [American
Film magazine
referred to him as a ÒjazzÓ programmeÉ]: Schrage, Michael. ÒRaiders
Meets Invaders,Ó American Film,
Sept. 1982.
301 ÒÕThat
magic,ÕÓ he said laterÉÓ: Langston, Peter. ÒThe Way it Should Be Done,Ó Unix Review, June 1985..
301 [He
had a fascination as well for the interface between people and machinesÉ]: Marin
Independent Journal,
8/31/04.
302 ÒI
play at the end of every day to unwindÉÓ: Graham, Jefferson. ÒAll Time Attendance Records at
Consumer Electronics Show,Ó The
Hollywood Reporter, June 10, 1982.
302 ÒHistory
will show that the five breakthrough developments of 20th century
electronicsÉÓ: Ibid.
304 ÒItÕs
funny, often the people I went afterÑif they had any sort ofÉÓ: Peter Langston, AI, 6/20/02.
305 ÒWe
didnÕt want the games guys messing aroundÉÓ: Bob Doris, AI, 6/14/02.
307 ÒThen
it becomes a social interactionÑthe computer is a neutralÉÓ: The Lucasfilm Interview.
http://www.zzap64.co.uk/zzap11/lucas_part2.html
307 ÒItÕs
the age-old problemÉÓ:
David Levine, AI, 7/16/04.
307 ÒI
was curious to see how much of a fractal I could getÉÓ: Loren Carpenter, AI,
7/16/04.
309 [A distant second to Atari, they represented 15 percent of the marketÉ]: Graham, Jefferson. ÒNew Entries in Video Market Stress Arcade-style Quality,Ó The Hollywood Reporter, Aug. 23, 1982.
310 Òa
physics lab is nothing more than a simulationÉÓ: http://www.atarimagazines.com/v4n8/Lucasfilm.html
(Antic, Vol. 4 No. 8 Dec 1985 ÒNew Lucasfilm GamesÓ.
310 Òboot
beepÓ: www.folklore.org/StoryView.py?project=Macintosh&story=Boot_Beep.txt&sortOrder=Sort%20by%20Date&detail=medium
310 Ò[When
I heard] that George Lucas was starting a game divisionÉthat was it.Ó: Charlie Kelner, http://www.atarimagazines.com/v4n8/Lucasfilm.html
(Antic, Vol. 4 No. 8 Dec 1985 ÒNew Lucasfilm GamesÓ.
311 ÒHe
wanted some kind of fancified alien craftÉÓ: David Levine, AI, 7/16/04.
312 [And
like most interactions between George and his troops, he was gone almost as
quickly as he had arrivedÉ]: David Fox, AI, 6/30/04.
312 ÒOne
game reviewer, an eminent jazz player, said the score soundedÉÓ: http://www.atarimagazines.com/v3n4/lucasfilm.html
(Antic, Vol 3, No. 4 August 1984) Lucasfilm & Atari, Creative Partners by
Michael Ciraolo.
312 ÒPeterÕs
primary focus is on funÉÓ: David Levine, AI, 7/16/04.
313 [Ray
Kassar (still onboard in spite of securities allegations)É]: http://www.geocities.com/~irata/background.html
(ÒPlanet IrataÓ).
313 ÒI asked George to come look at
the options before the meetingÉÓ: Bob Doris, AI, 6/14/02.
ADDITIONAL WEB LINKS (with varying degrees of relevance):
http://www.commodore.ca/history/company/chronology_portcommodore.htm
http://www.steverd.com/cool/SECRETS.TXT
http://www.cyberroach.com/analog/an19/dark_noon.htm
http://www.system16.com/atari/history.html
http://www.snopes.com/business/market/atari.asp#add
http://www.atarimagazines.com/hi-res/v1n1/atarihistory.php
http://www.geocities.com/~irata/background.html
Chapter 19:
Non-Stop Coffee Pots
315 [The
theater chain General Cinema also joined the club, upgrading three theaters
with THX.]: Tom Holman, notes, 11/20/04.
317 ÒThey
were a team. If he was black she was whiteÉÓ: Jim Kessler, AI, 3/8/04.
317 ÒI
think EdÕs greatest fearÉÓ: Bob Doris, AI, 6/14/02.
319 [He
gave feedback on the prototypes without being askedÉ]: Clark Higgins, AI
6/14/02.
320 ÒSteve
brought a lot of expertise in the day-to-dayÉÓ: Ralph Guggenheim, E, 1/3/05.
320 ÒWell,
hate is a strong
wordÉÓ: Duwayne
Dunham, AI, 5/6/05.
321 ÒBeing
incapacitated with post-surgical pain and learningÉÓ: Ralph Guggenheim, E, 1/3/05.
323 ÒWe
needed to put film in the hands of the peopleÉÓ: Rob Lay, AI, 6/18/02.
323 Òthere
was definitely an editing problem. I had been making films all alongÉÓ: Ibid.
323 ÒWe
needed maximum power, so we were looking at allÉÓ: Ibid.
324 ÒThere
was always huge pressure to get product releasedÉÓ: Ibid.
324 ÒMy
interest was in being closer to the blending of filmmaker and machineÉÓ: Ibid.
327 ÒHow
do you do a sound overlapÉÓ: Bob Dalva, AI, 6/22/05.
328 ÒThe
secretaries and the programmers wereÉÓ: Rob Lay, AI, 1/3/05.
328 ÒWhen
the damn machine would crashÉÓ: Ibid.
330 Òwe
need some kick-assÉÓ:
Steve Schwartz, AI, 8/29/04.
331 ÒYou
couldnÕt ask for a better guyÉÓ: Ibid.
331 ÒYou
know, I really just want to point at theÉÓ: Rob Lay, AI, n.d.
335 ÒEven
more importantÉis the way complex systems seem to strike a balance between the
need for order and the imperative to changeÉÓ: [The Lost World, by Michael Crichton; Alfred A.
Knopf, a division of Random House, Inc. copyright 1995]
335 ÒThe
only problem was that weÉÓ: Robert Greber, AI, 5/14/04.
336 ÒGeorge
looked at the products the wayÉÓ: Paraphrased from Bob Doris, AI, 3/12/04.
338 ÒPeople
werenÕt even looking at the editingÉÓ: Chet Schuler, AI, 10/20/04.
340 ÒFrancis
always said a movie is 65 percentÉÓ: Clark Higgins, AI, 6/19/02.
341 ÒI
told Walter I didnÕt want to be officially involvedÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry
N. Abrams Inc., USA, 1992, p
112.
341 ÒThere
was always a political earthquakeÉÓ: Rob Lay, voicemail.
347 Ò[Our] first couple of visits wereÉÓ: Alvy Ray Smith, E, 4/11/05.
348 ÒOne
of the questions thatÕs never been answeredÉÓ: Charles Solomon, AI, 8/24/04.
348 ÒI
loved cartoons. I would get up at the crackÉÓ: http://www.awn.com/mag/issue3.8/3.8pages/3.8lyonslasseter
349 ÒI
was always feeling that animation had reached a plateauÉÓ: Ibid. Reiterated John Lasseter,
AI, 9/8/04.
349 [Still,
if Disney thought the shot was important enoughÉ]: Alvy Ray Smith, E, 10/1/04.
351 ÒAlvy
was ready to take on the worldÉÓ: Tom Porter, E notes, 10/1/04.
352 ÒÕWithout
motion blur,Õ said CatmullÉÓ: Ed Catmull, E, 5/27/05.
352 ÒIf
weÕre going to do cinema-qualityÉÓ: Rob Cook, AI, 9/8/04.
353 ÒIt
was the conventional wisdom that point samplingÉÓ: Ibid.
353 ÒI
found the competition invigoratingÉÓ; Ed Catmull, E, 5/27/05.
353 ÒÕI
walked by those guys,Õ said Ben BurttÉÓ: Ben Burtt, AI, 10/28/04.
354 ÒI
wasnÕt a PhD, like most of these guysÉÓ: Rodney Stock, AI, 10/25/04.
357 ÒWe
probably should have called it something differentÉÓ: Rob Cook, AI, 9/8/04.
357 [Earlier,
they had written an animation programÉ]: Ed Catmull, LFL History
Project, Interview by Pamela Glintenkamp,
1/24/02.
357 ÒWe
wanted to test our systemÉÓ: Ibid.
358 ÒIÕm
in heavenÉÓ: Alvy
Ray Smith, AI, 6/11/02.
359 ÒI
couldnÕt believe that this movie, almost a comic stripÉÓ: John Lasseter, AI, 9/08/04.
364 ÒLasseter
was down the hall from meÉÓ: Ben Burtt, AI, 10/28/04.
366 ÒI
want the group to do animated filmsÉÓ: Ed Catmull, AI, 3/19/04.
369 ÒNot
too much from the industry at largeÉÓ: David DiFrancesco, AI, 3/19/04.
371 ÒMuch
to my surprise, Ben said that he had nothingÉÓ: Alvy Ray Smith, whitepaper, 1 Aug
84.
372 ÒWe
always encouraged the team to publishÉÓ: Alvy Ray Smith, LFL History Project, Interview by
Pamela Glintenkamp, 1/23/02.
372 ÒHaving
a badge that said ÔLucasfilmÕ made meÉÓ: Noah Falstein, AI, 9/25/04.
373 [When
Alvy spoke at his seminar, he raved aboutÉ]: Ed Catmull, AI, 3/19/04.
373 [They
were sneaked into the auditorium after the lights were dimmed for the filmsÉ]: Alvy
Ray Smith, LFL History Project, Interview by Pamela Glintenkamp, 1/23/02.
373 [(Siggraph
reels traditionally consisted of TVÉ]: Chip Morningstar blog,
http://www.fudco.com/habitat/archives/000021.html.
373 ÒPeople
there know when theyÕre seeingÉÓ: Alvy Ray Smith, LFL History Project, Interview by
Pamela Glintenkamp, 1/23/02.
373 Òbecause
I was the director of this pieceÉÓ: Ibid.
374 ÒThe
film comes across rather like a sleek puppetÉÓ: Toronto Globe and Mail, Aug 18, 1984,
ÒMuch-ballyhooed animated film a disappointmentÓ by Stephen Godfrey.
376 Òof
innovation, prosperity, and high executive salariesÉÓ: http://home.neo.rr.com/memoriesofpast/hist.htm
376 ÒMy proposal, based on very detailed flow charts of how their houseÉÓ: Alvy Ray Smith, E, 9/9/04.
Chapter 22: Playing Games
Special acknowledgement to Chip
Morningstar, for the permission excerpt or adapt some sections from his blog:
http://www.fudco.com/habitat/archives/000021.html
379 ÓIt's misleading to suppose there's any basic difference between education and entertainmentÉÓ: http://faculty.uml.edu/sgallagher/marshall
379 ÒThey hadnÕt released any yetÉbutÉÓ: Noah Falstein, AI, 9/25/04.
379 ÒI
think they were afraid I would contaminate their purityÉÓ: Ibid.
379 ÒWhen
computers came along, I bought an AtariÉÓ: Web.
380 ÒEd
and I got very nervous because we knew that if we didnÕt haveÉÓ: Bob Doris, AI.
381 ÒI
was convinced that personal computers were goingÉÓ: Steve Arnold, AI, 3/27/04.
381 ÒIt
was an act of desperationÉÓ: Ibid.
381 [Atari
fired Ray Kassar in the fall of 1983É]: Doug Crockford, AI, n.d.
381 ÒWe
are going to reignite the consumerÕsÉÓ: ÒAtari Refuses to let Video Game Fad Die,Ó Business Week, May 21, 1984..
381 ÒIt
was clear to me that the company didnÕtÉÓ: Steve Arnold, AI, 3/27/04.
382 ÒI
puttered around a bitÉÓ: Noah Falstein, AI, 9/25/04.
382 ÒOne
of the things that bothered me a bit aboutÉÓ: Ibid.
383 ÒAt
the time, I believe this was the most expensiveÉÓ: Gary Winnick, E, 10/15/04.
383 Òa
magic place of literary memoryÒ: ÒTed Nelson and XanaduÓ - http://www.iath.virginia.edu/elab/hfl0155.html.
383 ÒFew
people could actually work with Ted for moreÉÓ: Chip Morningstar, E, 9/26/04.
384 [It
was seen on T-shirtsÉ]: Atari Press Release.
385 [although
only a few years earlier the company had peakedÉ]: Oakland Tribune, 7/7/84.
385 ÒThere
was a general sense of horrorÉÓ: Noah Falstein, AI, 9/25/04.
386 [Without
much to go on, the guards were rumoredÉ]: Chip Morningstar, E, 9/26/04.
386 [let
employees leave with theirÉ]: Owen Rubin, AI, 7/26/04.
386 [Bob
Doris and Steve Arnold metÉ]: Bob Doris, E, 7/16/04.
386 ÒThe
Hutt Brothers: Jabba, Jack.Ó: From Chip Morningstar, E, 9/26/04 - and from Bob Doris,
AI, n.d.
387 ÒWe
thought it might be more interestingÉÓ: Chip Morningstar Blog
http://www.fudco.com/habitat/archives/000021.html.
387 [At
the JanuaryÕs CES showÉ]: Computer+Software News, 2/18/85.
387 ÒWe
are trying to bring together some of the excitementÉÓ: Marin Independent Journal, 8/31/85.
387 ÒA
scientist has mysteriously disappeared from an abandonedÉÓ: Ibid.
388 ÒYou
play the part of a wily techno-scavengerÉÓ: Ibid.
388 ÒWe
need to come up with a name for NoahÕsÉÓ: Chip Morningstar, E, 9/26/04,
391 [Doug
Crockford recalled LucasÕ telling them that it was timeÉ]: Doug Crockford, IA,
9/27/04.
391 [He
said that Lucas had been supporting the company long enoughÉ]: Doug Norby, AI,
9/30/04.
391 [It was going to be a serious reorientation]: Ibid.
391
ÒWeÕre going to concentrate on moviesÉÓ: Doug Crockford, AI, 9/27/04.
391 [Norby
was friendly but steely. He said that Lucas had been supportingÉ]: Doug Norby,
AI, 9/30/04.
394 ÒDo what you have to doÉÓ: Doug Norby, AI, 9/30/04.
394 ÒThere
were people problems in the companyÉÓ: Doug Norby, AI, 12/2/04.
394 ÒItÕs
a huge mindshift for the peopleÉÓ: Ibid.
395 ÒWe
got the division to be a whole lot more efficientÉÓ: Ibid.
395 [The
fixed-price bids, now based on extensive knowledge of the costs of effectsÉ]:
Ibid.
395 ÒWe
owed her a big chunk of moneyÉÓ: Ibid.
395 ÒI
just canÕt do it; youÕre on your ownÉÓ: Doug Norby, AI, 8/27/04.
396 [They
visited the company and toured the facilities, Òkicking the tiresÉ]: Chip Morningstar, AI, 9/25/04.
396 [Only
months earlier they had taken a 25 percent stakeÉ]: Web: Business Week 1998.
396 Ò[They]
wanted too much of the company forÉÓ: Doug Norby, AI, 8/27/04.
396 ÒItÕs
a George thing. HeÕs successful at creating a mythÉÓ: Bob Doris, AI, 6/14/02.
396 [IÕm
sure the Dougs werenÕt doing anything moreÉ]: Ibid.
396 ÒThat
wasnÕt the caseÉÓ:
Doug Norby, AI, 12/2/04.
396 ÒYouÕve
got two good things hereÉÓ: Ibid.
297 [Itel
used the profits to diversify, getting into the shipping container business and
short line railroadsÉ]: http://www.trainweb.org/mccloudrails/History/History07.html
399 ÒHow come working for the manÉÓ: Jim Clark paraphrased by Alvy Ray
Smith, AI, 6/11/02. (A similar tale recounted in The Second Coming of Steve
Jobs).
400 ÒI
wasnÕt really a marketing person, but when Ed neededÉÓ: Tom Porter, AI, 12/6/04.
400 ÒThe
special property of the Pixar was that it could handleÉÓ: Bob Drebin, AI, 11/30/04.
400 ÒÕHere,Õ
they said, Ôif you want toÉÕÓ: Ibid.
403 ÒFrom
a product standpointÉÓ: Doug Norby, AI, 3/10/04.
403 ÒExpectations
were way ahead of realityÉÓ: Bob Doris, AI ,10/22/04.
403 ÒCultural change is the hardest thing in businessÉÓ: Doug Norby, AI, 12/2/04.
404 ÒIt was early in the spin-off processÉÓ: Ed Catmull, AI, 3/19/04.
404 ÒWeÕre
the business guysÉÓ:
Alvy Ray Smith, AI, 6/11/02.
404 ÒThe
reason they were instructed not to negotiateÉÓ: Doug Norby, AI, 12/2/04.
404 [Lucasfilm
initially wanted $15 million for their stockÉ]: Ed Catmull, AI, 3/19/04.
405 ÒI
knew it was going to be hard to sellÉÓ: Doug Norby, AI, 12/2/04.
405 [Second
was Siemens in GermanyÉ]: Gabor, Andrea. ÒA Better Kind of Image from
the Wizards of Hollywood,Ó Business
Week, April 1, 1985.
405 [They
wanted both EDS (a new divisionÉ]: Bob Doris, AI, 3/10/04.
405 [Philips
to each give up $10 million for theirÉ]: Ibid.
405 [At
General Motors, for capital acquisitionsÉ]: Ed Catmull, AI, 3/19/04.
408 [Dennis
Muren had been skeptical of the computerÕsÉ]: Alvy Ray Smith, E, 8/29/04.
408 ÒItÕs
like we designed this very sophisticated race carÉÓ: ÒMiller, Michael W. ÒThe
Larger MarketÑProducers of computer graphics for Hollywood find new
opportunities in science and industry,Ó Wall
Street Journal Sept. 16, 1985.
409 Ò[ILM could see] that the Graphics Group wanted toÉÓ: George Joblove, AI, 7/1/02.
410 ÒÕToo
expensive,Õ he said. ÔIÕm more in the $10 to $15ÉÓ: Ed Catmull, AI, n.d.
411 ÒÕJust
wanted to tell you up front,Õ the young men in sharpÉÓ: Alvy Ray Smith, AI, 6/11/02.
412 ÒIt
was one of the most tense meetings IÕve ever beenÉÓ: Ibid.
413 ÒWe
had EDS at the tableÉÓ; Doug Norby, AI, 8/27/04.
414 ÒHe
knew we were desperateÉÓ: Ibid.
417 ÒStay
small, be the best, and donÕt lose any moneyÉÓ: Steve Arnold, AI, 3/27/04.
418 Òthe
expectation was that people would pay us to doÉÓ: Chip Morningstar blog,
http://www.fudco.com/habitat/archives/000021.html.
419 ÒNobody
was interested in what I had been doing at AtariÉÓ: Doug Crockford, AI, 9/27/04.
419 ÒI
was going to be in the games groupÉÓ: Ibid.
419 ÒI
think you guys would really like this because you have a weird senseÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry
N. Abrams Inc., USA, 1992,
p123.
422 Ò[Adventure
games] were kinda frustratingÉ.Ó: Ron Gilbert, AI, 9/23/04.
423 Òthousands
of milesÉÓ: From
Lucasfilm White Paper, 6/28/85, ÒThe Lucasfilm UniverseÓ by Chip Morningstar.
426 [In
1985 Quantum had about 50,000 subscribersÉ]: http://www.atarimagazines.com/startv3n3/prodigyknowledge.html
(Start. Vol 3, No. 3, Oct. 88)
428 ÒÕA
lot of my work,Ô said Crockford, Ôwas dealing withÉ.Ó: Doug Crockford, AI, 9/27/04.
428 [DVI]:
Doug Crockford, E, 6/25/05.
428 [DVI]
http://www.mtsu.edu/~itconf/proceed97/dvi.html
430 ÒOnce
we returned to Marin, LucasfilmÕsÉÓ: Chip Morningstar blog,
http://www.fudco.com/habitat/archives/000021.html.
431 ÒIt
would have been a huge success ÉÓ: Steve Arnold, AI, 3/27/03.
433 ÒThereÕs a wide differenceÉÓ: Evans, Harold. They Made America. Little Brown and Company, Boston, 2004.
435
ÒHe took the morning shift upÉÓ: Andy Moorer, AI, 6/24/02.
436 Òto
make sure everything was workingÉÓ: John Snell, AI, 11/19/04.
436 ÒThe
sound of a grizzly bear on a track is all choppedÉÓ: Andy Moorer, AI, 6/24/02.
444 ÒOn
the one hand IÕm doing these huge productionsÉÓ: Champlin, Charles. George LucasÑThe Creative Impulse. Harry
N. Abrams Inc., USA, 1992,
p117.
446 ÒWhen
900 years old you are, look as goodÉÓ: Return of the Jedi, screenplay by Lawrence Kasdan and George Lucas.
448 ÒThe
studios arenÕt interested in this sort of thingÉÓ: Richard Wolfe, Fox
Telecommunications VP for engineering and video, (in) California magazine, Oct 1981.
449 ÒI
had been doing the usual videodisc, stereo visionÉÓ: Ken Carson, E, 10/5/04.
451 [He
also reported that his editing time was shortenedÉ]: Sontag, Sherry, ÒFilm
Editing Goes Electronic,Ó New York Times, Oct 19, 1986.
451 ÒI
knew I was a guinea pigÉÓ: Ibid.
453 ÒSo they took it out on youÉÓ: Bob Doris, E, 8/27/04.
453 Òhe
would have trouble keeping his empire afloatÉÓ: Marin Independent Journal, 2/27/86 - paraphrasing a Wall
Street Journal
article of 1/23/86.
455 ÒSometimes
new things that are so valuable are still slowÉÓ: Sontag, Sherry, ÒFilm Editing Goes
Electronic,Ó New York Times, Oct 19, 1986.
456 ÒWhen
itÕs good enough forÉÓ: Droid Works internal memo, 6/13/86.
459 [The
big productions now were St. Elsewhere, Remington Steele, and Hill Street Blues]:
http://www.museum.tv/archives/etv/T/htmlT/tinkergrant/tinkergrant.htm
460 [In
the first ten days, absolutely critical in the Hollywood systemÉ]: Numbers from
LA Times.
460 ÒÕTheyÕre
all interesting movies,Õ said LucasÉÓ: Champlin, Charles. George
LucasÑThe Creative Impulse. Harry N. Abrams Inc., USA, 1992, p 117.
464 ÒYes,
we are going out of business; there is no SoundDroidÉÓ: Ken Yas, E, 10/9/86.
465 ÒThere
is no reason whatsoever to interpret this currentÉÓ: Augie Hess, E, 1/26/87.
465 Òcease
commercial manufacturing and marketing of the EditDroid and SoundDroidÉÓ: Lucasfilm press release, 1/23/87.
465 ÒYou need to understandÉÓ: Eller, Claudia, ÒHollywood Ponders Droid Works Demise,Ó Hollywood Reporter, 2/6/87.
469 ÒLightworks was like usÉÓ: George Lucas, AI, 4/28/04.
470 ÒI think the AvidÉÓ: Ibid.
475 [Pixar IPO] Alvy Ray Smith, AI, n .d.
475 [Pixar IPO] http://www.forbes.com/strategies/2004/10/22/cx_sr_1022ipooutlook.html
476 ÒMan, I want to be able to do thatÉÓ: John Knoll, AI, 4/13/04.
477 ÒBack before T2ÉÓ: Shay, Don and Duncan, Jody. The Making of Jurassic Park, Ballantine Books, USA 1993, p48.
478 ÒI call that marketing roundingÉÓ: Tom Holman, AI, 11/22/04.
478 ÒIt wasnÕt always an easy partnershipÉÓ: Tom Scott, AI, 5/4/04.
479 ÒGames was a good groupÉÓ: Doug Norby, AI, 3/10/04.
480 ÒIn the end, it was HabitatÉÓ: Chip Morningstar, E., 10/2/04.
480 ÒEverything you do at LucasfilmÉÓ: Noah Falstein, San Francisco Chronicle, 1998.
481 ÒHe would enjoy the benefitsÉÓ: Cowie, Peter. Coppola. Andre Deutsch Ltd, London, 1989, p 210.
482 ÒZoetrope failed becauseÉÓ: Ibid, p 220.
482 ÒI am basically interested in a form of super televisionÉÓ: Ibid.
482 ÒI was creatively very stifledÉÓ: George Lucas, AI, 4/28/04.
482 ÒI could see that George was looking...Ó: Rick McCallum, AI, 6/3/05.
482 ÒEven from that early timeÉÓ: Ibid.
482 ÒIt was a real placeÉÓ: Ibid.
484 [prequel data] ÒLucas the Loner Returns to WarsÓ
484 [hidef
prequel data] http://www.cinema.com/films/140/star_wars_episode_i_the_phantom_menace/production_notes.phtml
484 ÒTo
meÉÓ George Lucas, interview with AP:
http://www.st-v-sw.net/STSWcanonSE.html
485 [info]:
http://www.bealecorner.com/trv900/sw24p.html
485 ÒIn his lifetimeÉÓ: Haskel Wexler, AI, 12/3/04.
487 ÒFor
two decadesÉÓ Intro to -- Champlin,
Charles. George LucasÑThe
Creative Impulse. Harry N. Abrams Inc., USA, 1992, p18.
487 ÒAll I didÉÓ: George Lucas, AI, 4/28/04.