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[Thread] George Lucas, the three-second rule and the Jedi Starfighter example It's a story that Doug Chiang (responsible for some of the finest Star Wars spaceship designs of the last 25 years) often tells at his conferences. 1/25

It's about how Lucas chose the designs for the vehicles in the Prequels. As you no doubt know, in the pre-production phase, numerous concept artists and designers draw hundreds of sketches to enable the filmmaker to choose the design that suits him best. 2/25

We know a small part of this work thanks to the Art of (books). Here's an early design for General Grievous by Alex Jaeger 3/25

However, when presented with these drawings, Lucas quickly made his choices. Chiang: "During our art meetings, George came in the room, very quickly looked at the whole board, and right away identified the two or three [designs] that he really liked." 4/25

George Lucas explained later that the designs had to live by themselves. "When you see them on the screen, you're not gonna be there to explain what it is. The audience has to connect with it right away." 5/25

"You have to know its function. You have to know where the pilot sits, which direction is going all those things, in less than three seconds. And if you can do that in a design without any explanation, the design will be that much more powerful." 6/25

Basically, Lucas wanted a long-bodied dragsters with wings for the X-Wing.Or a World War 2 TBF torpedo Bomber for the Y. On the contrary, the TIE Fighter was something alien. For the young filmmaker, these concepts had to have a strong silhouette, readable in a matter of seconds.

Viewers need to be able to distinguish quickly between the different ships, and to which army they belong. "Otherwise, it doesn't work," George Lucas explained. "We don't care how beautiful it is. You'll never get a chance to explain to the audience what it's all about." 8/25

Spectators instantly understand the vehicle's function. George Lucas: "I'm a visual filmmaker as opposed to a literary filmmaker, so the movie doesn't rest in the dialogue. It rest in the visuals." 10/25

The Prequels had to present the past of Star Wars, a world that hadn't yet fallen under the weight of fascism. Chiang: "In Episode one, we established a very Art Nouveau, very fluid form, and Episode four had a sort of very industrial engineered angular shape." 11/25

Attack of the Clones (2002) had to start showing the beginning of the fall, and so show the transition through design too. By mixing a little bit of both art direction, and inviting symbolism. 12/25