dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h

dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h
dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h
dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h
dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h
dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h
dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways h

dark-and-light-rise:After working with George on the prequels for seven years, I knew in some ways how to anticipate what forms he would like - which is really good, because he still likes those forms. So for the Jedi temple, he loved that bell shape. It’s reminiscent of some of the imagery that [original Star Wars trilogy concept artist] Ralph McQuarrie painted way back.I was going with a really eclectic mix of architecture and mysticism. I thought, “Let’s design things that hint at the power of Luke.” Weird stuff. So I had the idea of floating rock domes, little things that are very Star Wars. – Doug Chiang, Lucasfilm VP/Executive Creative Director– The Last Jedi in Exile, The Art of Star Wars: The Last Jedi -- source link


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