Many Faces, Coruscant, Storms & Droids
A collection of 1997 production reports covering R2’s passport troubles a Tunisian storm set damage Coruscant’s evolving design and Lucas’s experimental Episode I filmmaking approach…
7th September 2026
Support the Site:
Q: The underwater scenes of Otoh Gunga had a beauty all their own. Were these particularly difficult to create, and what parts were live action vs. miniatures vs. CG?
ILM: The Otoh Gunga Boardroom scene was challenging as we needed to create an otherworldly environment with a backdrop which was underwater. We wanted everything to have a magical feeling, with warm rich colors; that in itself presented problems as we still had to convey that water, which is inherently cold, was beyond the transparent walls. Generally the only live action parts were the actors Liam Neeson and Ewan McGregor; they were shot on a partial set, but even that, along with various miniature model elements of the environment, was brought into the CG world and manipulated, before being composited together with other entirely CG elements (the board members, Boss Nass, JarJar, the fish, the exterior spheres and bubbles).
From Ask the Jedi Council Archives – 1999
Support the Site:
Q: What kinds of skills and talents does it take to be a conceptual artist?
A: Doug Chiang
– Conceptual designers need to be good artists. Our job is communication through art. The backgrounds of each artist in the art department are often as varied as our skills. Some are wonderful creature creators, like Terryl Whitlatch, and others like Iain McCaig excel at costumes. But the common link that binds us all is the ability to draw well.In addition, concept designers need to be world builders. We need to be architects, vehicle designers, costume and creature designers, all in one. Good designers have the ability to see the uncommon in common objects.