- Post
- #263966
- Topic
- Info Wanted: Question about 1980 uncut Empire
- Link
- https://originaltrilogy.com/post/id/263966/action/topic#263966
- Time
I have heard of people claiming that there was an additional shot or two in the 70mm version, or that a shot or two was missing. There has never been any hard confirmation of this by any kind of reliable source, and the purportedly changed shots are sometimes inconsistently reported. The more consistent ones however, are the extra long bacta tank shot. Very minor tweaks such as this. The sound mix we know had a few similarly-subtle differences--notably the line of Luke's, "you were lucky to get out there" that now is part of the SE. In fact, Lucasfilm confirms this in their "what has changed" lists (i cant remember, there might have been one or two other unique 70mm audio blips as well). The 70mm tracks are among the first mixes to be done because they use special six-track surround, with the 35mm mono/stereo mixes coming afterwards, so because of this there are always differentiations in mixing and sometimes even dialog, especially in the case of ANH. But this is just sound mixing stuff--it can be easily changed and played around with until the last day. Changing the picture, however, is a big, big deal. Personally, i find the notion of even one or two extra cuts to be total falsehoods--people thought the same thing about ANH (ie shots being reversed in edit order) but a bootleg of that has since put that to rest as being untrue. I think its just the massive 70mm format making the film seem different, personally. However, it is possible that, as the 70mm mix is being worked on, a last crucial shot or two can be added in time for the 35mm version, or cut out for that matter--this almost happened on ESB, as Gary Kurtz meticulously recollects, but it never did. He confirms that the prints are the same, because for him and Lucas, changing the film at the last minute was a huge deal, as i said.
But anyway, had you said that there was one or two shots different, i would be inclined to consider your opinion as another interesting bit of trivia to consider in our continued efforts to map every bit of fact about the star wars films. But the sheer volume of changes "remembered" by you, including ones that were never even filmed, tells me that you arent actually remembering factual events. Like i said, i remember reading pages and pages on fan mail in Star Wars Insider in the mid-90's with dozens of people from around the world who had never met claiming they had seen the Biggs footage--some said it was an obscure 70's print, some say it was an obscure 80's tv broadcast. In fact, this continues to this day. But they hadn't seen it because the footage had never, ever seen the light of day until it was dug up from the vaults and telecine'd for the 1996 Behind the Magic CD-ROM. Again, Bugs Bunny syndrome.
Now, if you want an inside account of the last-minute post production of ESB, the 70mm creation and what went out, Gary Kurtz himself will put this all to rest:
"At the very end of Empire ... we decided at the very last minute – we pretty much locked the picture in the mix and just getting ready to make 70mm prints – and we decided that there had to an extra shot at the very end, to identify this rebel fleet.
If you remember how the end works, it's before you go into the medical department, who are working on Mark's hand. It's the establishing shot of the fleet, and we had a shot already of going into the window and showing Mark inside, and we just decided that it was confusing We didn't know exactly how that was sorted out, so we wanted a long shot at the beginning, and then one at the end that shows the whole fleet when the Falcon flies off. They weren't very difficult to do, and all the ships were there ... just pile up the composites, and they were rushed through, just to get it done. Very last minute. One of them wasn't particularly good, and George said, "Oh well, maybe we should just let it go."
I said, "It's worth at least one more go through. One bad shot can ruin the whole movie, basically." Which I really believe is true, and it just wasn't very good. It was just a compositing problem, had nothing to do with the individual shot elements – I can't even remember what shot it was, now. I think making a movie wears everybody down. You have to be really careful of the decisions you make at the very end, because you can kind of throw a monkey wrench in, very easily."
--from IGN Filmforce
He tells the same story to Filmthreat.com:
"At the very end of Empire, we were fighting the deadline to get the film made in time, to get it out. Now, Empire was released only in 70mm first, in a couple of hundred cinemas. At that time with 70mm being magnetically striped for sound, we actually had to physically have people sit at the lab and run every single reel to check and make sure the soundtrack was okay. Because the magnetic coating didn't always work and it pealed off, there were dropouts, nightmares. We rejected about 25 percent of the reels, and they had to be restriped. The picture was fine, but the sound had to be restriped and then re-recorded just to get all these prints together. So we had two or three people sitting there, day and night, running reels. At the last real we hadn't even finished yet, because we were just getting in a couple of optical effects and miniatures from the Cloud City sequences. I remember we were sitting there at ILM, there was this one shot where the Millennium Falcon lands in Cloud City and it turns and lands and had some glitches in it. George said, "Well we're running out of time, I guess that's okay." And I said, "We can't use that! We've got to do that over again. Because it just doesn't look right." So, Richard Edlund agreed and we had this sort of heated discussion about whether there was enough time and whether we could get it done in time. We did do it over again, and it was much better. That was actually the first time I saw him not want to do the best he possibly could, because he was genuinely worried about the time. If we didn't meet our deadline, we were going to be in real shit. Then we decided, at the very last minute, to add an extra shot which was a real nightmare because at the very, very end we go in on the after the final battle where they escape Vader. We dissolve and we're in on this ship where the medical section is and where they're fixing Luke's hand and then we go through the final dialogue scene and Lando and Chewie leave. Well, oh, that was fine, it's just that we found that some of the people who sat through that last reel said we're not quite sure where we are at this point, because we've just gone through this sort of big confrontation thing and they escaped Vader, so we dissolved and that was out in space too. So we decided to add a long shot of the rebel fleet kind of steaming away with a dozen ships.
[ That's the very last image of the film, right? ]
No, that's not the very last image, we use it again. But, I mean this is at the beginning of that sequence. We dissolve to this long shot of the rebel fleet and then we cut to this shot where we move in on the one ship into the medical window. Then at the end, we pull out of that same window. So, we needed this shot and so ILM plans, shot the elements, composited the shot, this was before digital so it was all done optically, processed it and we had a negative for it all in about 48 hours. It was just amazing. They cut that into the print to make the 70mm prints for the last reel, just a few days before they had to be shipped so it was really tight. They did it and they did a great job, and we were really lucky too because a lot of those optical composites involved a lot of different elements. The first couple of gos, the color correction is all screwy and so we have to go back and redo it and change colors and things, so we were doing that constantly."
So, it seems there was no picture differentiations. They came close to including an earlier version of a cloud city shot and ommitting a final rebel fleet shot, but in the end all these things came through at the last moment due to the tireless work of the crew, and the prints were able to ship out in identical picture lock.
As I said, I see no reason to believe that there were any picture or editing differences in ESB. We know for sure of the many sound differences, but there has never been any surfacing of picture differences besides fans having false childhood memories.
Hope this puts it all to rest.