Episode V: The Music Calls

Two visionary world building.

This is Blockbuster. Episode five.

Spring nineteen sixty-three. Modesto, California. George Lucas is in his second year at Modesto Junior College studying anthropology and literature.

You coming tonight, George? You bet.

George has taken an interest in arthouse films. You couldn't see those modestos, so he and Would drive up to San Francisco for screenings. His lifelong friend John Plummer has also encouraged him to apply to the world-renowned film school at the University of Southern California. In the mail was an official-looking envelope from USC.

John, look, there it is. You gonna open it or what?

I am pleased to announce your admission to the University of Southern California. My god, I got in! You got in? Come in!

USC was a private university. George needed his father's help to pay the tuition. He'd get the money on one condition, that he'd treat his studies like a full-time job. But his dad still wasn't sure if there'd be a career for his son in film.

I'm holding a place for you at the store, George. Dad, I don't wanna run a company. I'm never coming back.

George held up his end of the bargain. At USC, he'd work night and day on his studies and his student films, too. With friends like John Millius, who would later become a writer and director, Walter Murch, who would become a legendary sound designer, and a beautiful girl named Marcia Griffin, who wanted to become an editor.

Did you do the five oh six assignment?

I can't keep up with him.

USC was an incubator of budding filmmakers, and though George didn't know it yet, he was already making his way to the top. His next student film was about a futuristic, dystopian world. It would become his calling card for decades. THX 1138. Spring 1977, Hollywood. George Lucas is 32 years old. Doctors have given a death sentence. Either for him or for Star Wars, George was defiant.

Well that's gotta go. No no no that's gotta go.

He's in his office slashing apart the script for Star Wars, shot by shot. That one was the Millennium Falcon's jump to hyperspace. That one was crucial to the film. George began spending two days a week at ILM trying to make up lost time and hiring help to oversee them when he couldn't be there. He became overbearing and strict. If they weren't gonna get all the shots done, they'd at least get the important ones.

A cannon going boom, boom, boom. An explosion in a wall panel?

John Dijkstra had run the place like a free-spirited collective. That's why he and George had always gotten along. Creativity came first, but now they were out of time.

Need this shot done today.

George put his foot down. He felt like a jerk. These were his friends, and he was treating them like employees. They were employees. His creative vision had become a business. In some ways he felt cold, just like his dad. But as Star Wars continued to unravel, there was no other way.

Hey Gary. Uh ple please give me good news.

In slashing scenes from the film, George had added a few new lines of dialogue. Those required some reshoots, but Fox wasn't making it easy.

They say twenty thousand is all we get.

I can't reshoot for twenty thousand.

We're two million over budget, George.

Yeah. The reshoot problem got even worse after actor Mark Hamill broke his nose and cheek in a car accident. It made his reshoots impossible. All George would get is a few days in the California desert. He knew that was it. He'd have to make it work.

How did they know where the aliens were?

About the nerve gas hoax?

Was it all supposed to be a dream?

Steven was feeling the pressure once more. This time he had a film with structural problems, not mechanical ones like on Jaws. He needed rewrites, reshoots, and money to do it. Columbia Pictures saw parallels to the troubled Star Wars picture at Fox, which had become a bit of a rival project.

Spring nineteen seventy seven.

Good to see you, pal.

Nice place, George. Look at that screen.

George and Marsha have invited their friends over to watch the film.

I already called front row!

Oh Steven, of course you did.

Hello, Brian. Alan Ladd Jr.

On Marcia's advice, the new cut of the film includes a completely new version of Luke's trench run on the Death Star at the end of the film, and Han Solo's swooping in with the Millennium Falcon to save the day. If people didn't cheer at that, the movie wouldn't work. They were about to find out.

Oh, by the way, Marty apologizes he can't be here. He was excited to see it.

It was a reunion of the movie Brad. Martin Scorsese wouldn't make it, and Francis Ford Coppolo was in Manila shooting Apocalypse Now. But Stephen, Brian De Palma, John Millius, writer Gloria Katz, and a couple executives from Fox, including Laddie, wouldn't miss it for the world.

Hey uh uh popcorn?

This is what I'm talking about. It's all about the experience.

Hey, let's go ahead with real one. I should mention we're still missing the special effects, so I put in some World War Two dogfight footage in there instead. Also, Johnny's doing this great score for the film, but um that that that that that's not in there either.

Photography. Have you shot anything yet, George?

Shut up, Brian.

Shut up, Ryan.

The film opened with shaky text. A primitive, long-winded version of what would become the iconic yellow opening crawl. And the first pictures of the film itself were handwritten notes that said, Huge space cruiser here.

Wait, so is all that text just a placeholder?

Where was this big expensive movie?

No, it's more background for the story.

It was just the start of what would be a nightmare screening. The longest two hours of Georgia's life.

Uh so th uh this this part will be different. Shh with the music, this sequence is gonna be a lot more intense.

Most scenes required explanation to make sense.

They're coming in.

210! Marsha was relieved the trench run scene got a cheer from Steven, but when they got to the film's final scene, the throne room, there was total silence. No music, no sound. A strange, boring ending for an adventure movie. When the end credits rolled, no one applauded or spoke. The silence sank George deep into his chair. It was clearer now than ever. Star Wars was terrible.

Marsha broke into tears. Not even Stephen knew what to say.

That bad, huh?

I don't mean to sound harsh, but what is this shit?

It's like the at long-last love of Saifash.

At Long Last Love was a musical starring Frank Sinatra, widely considered one of the worst films of all time. Marcia's heart broke for George, who was bright red with embarrassment, slumped down in his chair. He tried to save the moment.

Well, uh...

At least for the Fox executives in the room.

It is. A kid's movie, of course. Uh you know, Walt Disney kind of thing. It's gonna do uh eight, ten million. I it's a it's a kid's movie, you know?

Yeah, it's a kids movie, Brian, with the special effects and music. Hey, I can see a really fun move.

It was Laddie whose opinion really mattered, and he'd been the only person at Fox that still believed in the movie.

I, uh...

For a moment now, it wasn't so clear.

I think it's good, Joey. Very entertaining kids movie.

It was the polite way of saying the movie wasn't what it was supposed to be.

I'm gonna take off, George. Thanks again.

As the executives from Fox left, the movie brats followed tradition and went to dinner. Chinese food. George was silent in the car, silent at the restaurant. More than an hour passed before he worked up the courage to speak again.

Alright. What do you guys really think?

George had a notepad. He sat at the table piled high with empty dishes yet to be cleared, and begged his peers for help. This persistence had saved him before, but his friends knew it wouldn't this time.

Well George.

It was Brian.

Okay, the first act. Where are we? Who are the fuzzy guys? Who's this Tin Man from The Wizard of Oz? What kind of movie is this? I we have no idea what's going on. You you've left the audience out.

Brian was relentless. Several times George and Stephen tried to defend the story, but Brian continued.

And what's all this the force shit? It sounds like farts. May the farts be with you.

George was still bright red and humiliated.

And you gotta drop the Jedi shit. Nobody's gonna know what you're talking about.

He made notes on his notepad. He saw the only way out was to figure out what he'd messed up so badly.

You know, George, it's definitely rough, but I don't know that I agree with Brian.

The story is not a good idea.

Honestly, this thing could make a hundred million dollars. I'm serious. It has heart. People like that. You get those shots put in and Johnny's music in there, you can have a hit?

By the end of the night, George had his list of plot holes and problems, and after Stephen's show of support, Brian offered to help fix the film and rewrite what would become the iconic opening crawl.

England. A few miles away from London. It was a recording stage for music used by some of the celebrated composers of the last decade. Bernard Herman for Vertigo, Jerry Goldsmith for The Omen, The walls of this great big room had history, and John Williams was about to record the room. for the first time. George was in a smaller room, the control room, separated by soundproof glass. In front of him, an enormous mixing board and his sound

We we didn't have a score on American graffiti. I'm I'm not sure what to expect.

Are you in for a treat? John wore a black turtleneck and reading glasses, carefully scanning the sheet music before they begin recording with the orchestra. On the wall of this enormous stage is a projected image of Luke Skywalker, 34 feet across. In front of the screen is a semicircle of fine wood and brass instruments, all lined up facing John at the podium. If we're ready, shall we begin? It was John over the intercom.

Uh all the levels are set. Ready when you are, George.

May the force be with us.

John grasped the baton and held it up vertically as if casting a musical spell over the orchestra.

It's the greatest music anyone in that control room has ever heard.

I believe the only thing between them and the magic being played by the London Symphony Orchestra is just a pane of glass.

George fumbles to dial out to Steven in Los Angeles.

Can you get Steven on the phone? It's urgent.

George, what do you think?

Johnny, it's brilliant. It's already the best part of the movie.

Ladies and gentlemen of the London Symphony Orchestra.

Welcome.

Well to Star Wars.

As John conducted, George watched the film play on the screen above. It was dazzling. The images sparkled with life, more vibrant than they'd ever been before.

I've got Steven on the line.

You were right about Johnny. Listen to this.

George holds up the phone so Stephen can hear the music.

I told you, Josh. I told you. How about the phone?

This man is a genius, Steve!

call that would cost the studio nearly$600. John's baton held an astonishing command over the orchestra for a recording that would be considered among the greatest musical works of all time. The cast who were still in London had heard the buzz about John's score. They had to hear this.

George walked out to give a big hug to his composer, who is now visibly weary from hours of emotional conducting.

Johnny, come here.

Oh. It took John by surprise.

Was it all right? Johnny, it was I I'm speechless.

It was the only thing that had gone right, and boy was it right. Stephen would later admit he was worried he'd never hear something so wonderful as that music. George had brought up the very best of John Williams to save Star Wars. George left London on top of the world.

On the flight to Los Angeles, he fantasized about the future of Star Wars. Could it still make the splash Jaws did after all this trouble? A thousand movie theaters, lines around the block. He'd have 12 hours on a plane to think about it, and was still worried the music might have come too late.

George was back in the warm California sun. As he rushed his teams to finish the special effects shots and the sound mix, he got a note from Alan Ladd Jr. at Fox.

He just said to call him back when you have a minute.

Hey Laddie.

I dun wanna sugarcoat it. A lot of local theaters aren't sure about the film. We're not getting the numbers we thought we'd.

Well, how many theaters do we have?

Well I

Laddie, h how many?

About thirty.

Laddie could almost feel George's dismay through the phone.

Okay.

But we had an idea. The movie comes out on Memorial Day weekend, and they're thinking we might be able to get a little word of mouth.

It was unusual, but a move Laddie said might help the opening weekend numbers, especially for a limited release.

Won't that look desperate?

Well George.

Theaters had no interest in Star Wars. They thought it looked silly and wouldn't make money. In fact, the title was so unpopular that Fox had to threaten to withhold another movie later that summer that was more anticipated. The Other Side of Midnight. Theaters wouldn't get that one unless they also showed Star Wars. Twentieth Century Fox feared a flop.

Mr. Spielberg's office.

Uh there it's uh it's George for

Still weeks from release, George has lost all hope. He sees the writing on the wall, the epic sci-fi adventures Fox has been touting for two years is no more than a mediocre kids' movie.

Hey buddy.

Listen, I know you're doing some rewrites, but I'm I'm thinking about going to Hawaii. You wanna come?

Why? That's Memorial Day weekend?

Get away from the press, you know?

Cow me in. It'll be good just to relax for a couple days.

Yeah, great, great. There's uh it's a good hotel on the the big island it's

Yeah, yeah, I'm in. Hey, George, what if the press is good?

George couldn't find a way to tell Stephen Star Wars was only getting a limited release. They booked their tickets. When Star Wars arrived, they planned to be in a galaxy far, far away. in the final episode of Blockbuster.

Maybe we oughta do something less complicated for the next project, you know?

George and Stephen escaped the press on opening weekend.

I've always wanted to do a James Bond picture.

Where they forge a partnership that will change everything.

I have a story better than James Bond.

Really? And word of mouth creates a new hope for Fox and Star Wars.

George, that's your movie.

Is that true?

That's your movie! That's coming up on the finale, episode six of Blockbuster. This season of Blockbuster took months to research, write, cast, record, sound design, and compose the original score, and we're constantly sharing our work, research, and pictures on social media. Plus the latest news about Blockbuster, including this series winning Ad Week's Podcast of the Year Award for Best Creative Podcast.

Hey, this is Ryan Talbert, one of the composers of Blockbusters. Stay tuned for a short conversation about making this episode. But first, would you please take a quick moment to give us a five-star review and share this series with a friend? And for extras and exclusives, follow us on Facebook, Twitter, and Instagram. Or visit getblockbuster dot com. Thanks for listening to Blockbuster.

And this is Matt Schrader, creator and narrator of Blockbuster. Each week we are discussing a little piece of the creative process of making each episode. And today talking about a topic that's close to my heart. Incredible original score from Ryan Tauber and Benjamin Botkin. And Ryan is here and Ryan, when we met making Score a film music documentary, you came on as the composer of that film and I remember you saying, Oh great.

That has to be one of the maybe one of the most intimidat intimidating things that uh projects a composer can agree to. Yeah, I mean the best th I guess at the end of the day I just figured, well, you know, I can only do my best. Uh

just heard a a very musical episode and one of the things about John Williams music specifically is there's so many themes and motifs that are layered. A lot of character themes, a lot of that was something that we talked about early on, kind of having a motif driven approach, a theme driven approach where each character had a theme.

For me it just started with um understanding their story, uh understanding a little bit about their personalities. You know, I've just I I sat down with the piano and I tried to I guess walk in the shoes of these characters. I mean or get into their personalities. The George Lucas theme, I wanted to go with something that felt th something that almost has a childlike sense of fantasy.

You are one of the two composers who created the musical heartbeat here. And Benjamin Botkin, the other composer, really helped tap into the John Williams sound.

For me it's a feeling. Uh there's almost a certain bounciness to the orchestration. There's a uh a softer touch to certain things as opposed to going full rock and roll with the orchestra. Every musician feels like they're doing something important. they get to have their voice on certain moments rather than just kind of blending in the whole time.

That's really interesting. Yeah.

Yeah, and then it creates a certain feeling. I it it feels like yeah, every musician is playing something a part that feels important for them and and important to the whole piece.

Now Benjamin's based in Nashville, you're based here in Los Angeles. What was the working relationship like?

Uh it requires a lot of work m to get that kind of sound and he would I would send stuff his way, he would change a few things around, then he would send it back, I would change a few things around. Yeah, until until uh It sounded like something that uh Suited the project and sounded convincing.

Ryan Tauber, composer of Blockbuster, thanks for sitting down to chat.

Thank you, no problem.

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