lo-lo-lo-lo-fi silly simple shit, the first spark of an idea…
Exploration into electronic/dance. Short, sweet, basic.
[El Segundo Museam of Art]
Ever heard of editor Marcia Lucas? There’s a long, fascinating history of her life over at The Secret History of Star Wars:
Biographer Dale Pollock once wrote that Marcia was George Lucas’ “secret weapon.” Most people are aware that George Lucas was once married, and probably some are aware that his wife worked in the film industry herself and edited all of George’s early films before their 1983 divorce. But few are aware of the implications that her presence brought, and the transformations her departure allowed. She was, in many ways, more than just the supportive wife—she was a partner as well. “Not a fifty percent partner,” as she herself admits, but nonetheless an important one, and the only person that Lucas could totally confide in back then. Today, she has been practically erased from the history books at Lucasfilm.
Mark Hamill (a.k.a. Luke Skywalker) says Marcia was the “warmth and heart” of STAR WARS, and points to a radical shift in George Lucas’s filmmaking after their divorce:
[George is] in his own world. He’s like William Randolph Hearst or Howard Hughes, he’s created his own world and he can live in it all the time. You really see that in his films, he’s completely cut off from the rest of world. You can see a huge difference in the films that he does now and the films that he did when he was married. I know for a fact that Marcia Lucas was responsible for convincing him to keep that little “kiss for luck” before Carrie [Fisher] and I swing across the chasm in the first film: “Oh, I don’t like it, people laugh in the previews,” and she said, “George, they’re laughing because it’s so sweet and unexpected”—and her influence was such that if she wanted to keep it, it was in. When the little mouse robot comes up when Harrison and I are delivering Chewbacca to the prison and he roars at it and it screams, sort of, and runs away, George wanted to cut that and Marcia insisted that he keep it. She was really the warmth and the heart of those films, a good person he could talk to, bounce ideas off of, who would tell him when he was wrong. Now he’s so exalted that no one tells him anything.
Marcia, who was always pushing George to focus on story and character, also provided a crucial woman’s perspective to Raiders of The Lost Ark:
[Marcia] was instrumental in changing the ending of Raiders, in which Indiana delivers the ark to Washington. Marion is nowhere to be seen, presumably stranded on an island with a submarine and a lot of melted Nazis. Marcia watched the rough cut in silence and then levelled the boom. She said there was no emotional resolution to the ending, because the girl disappears. ‘Everyone was feeling really good until she said that,’ Dunham recalls. ‘It was one of those, “Oh no we lost sight of that.” ’ Spielberg reshot the scene in downtown San Francisco, having Marion wait for Indiana on the steps on the government building. Marcia, once again, had come to the rescue.”
In his recent piece, “Temple of Gloom,” Wesley Morris points to the Lucas’s divorce as a source of the darkness in the Indiana Jones sequel:
Spielberg, who’s two years younger than Lucas, was poleaxed by his friends’ divorce. “George and Marcia, for me, were the reason you got married … ” he told 60 Minutes in 1999. “And when it didn’t work, and when that marriage didn’t work, I lost my faith in marriage for a long time.” Spielberg had his own problems. He’d just split with Kathleen Carey, a girlfriend of three years. A few months earlier, Spielberg had told People, “I think Kathleen and I will have kids.” Suddenly, the two most successful moviemakers on the planet were under-40 bachelors.
“I was going through a divorce,” Lucas said, “and I was in a really bad mood. So I really wanted to do dark. And Steve then broke up with his girlfriend, and so he was sort of into it, too. That’s where we were at that point in time.” That’s the reason Temple of Doom… is difficult for its creators — and lots of Indy fans — to love. It’s a breakup movie. It’s a record of gloomy images that were scrolling through its creators’ heads. “Sometimes,” Lucas told me, “you go to the dark side.” For two bummed-out guys, Temple of Doom was a catalog of what it’s like to get your heart ripped out.
Marcia Lucas was George Lucas’ editor on all three STAR WARS films and AMERICAN GRAFFITI. She also worked with Martin Scorsese on ALICE DOESN’T LIVE HERE ANYMORE (editor), TAXI DRIVER and NEW, YORK, NEW YORK (supervising editor), as well as Francis Ford Coppola on THE RAIN PEOPLE and THX 1138 (assistant editor). She is a major figure in the New Hollywood era, and yet, most people have never heard of her. I wonder why?
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