But what was great about Rogue One is that we were making a film that actually connected directly into Star Wars: Episode IV – A New Hope, by design. “No, I didn’t actually watch Steven Spielberg films to make this ‘Spielbergian’ movie.” Those sorts of things. You try to become a little more nuanced, a little more “clever” about sort of fooling people into what your influences are. Normally you try to hide your influences you don’t wear them on your sleeve when you make a movie. We’ll make this movie the way we would want to make this movie.” But the thing is, what was great about that, is that we could channel Star Wars. That occurred to me when we started Rogue One, when Gareth basically told me, “we’re not remaking Star Wars. There is a visual language that exists that, unless you’re studying it, you don’t really notice it. From the way they climb aboard the Millennium Falcon, to the wide shots of the Millennium Falcon going past the camera. The funny thing is, when it comes to Star Wars, there is a very particular visual language with the way the films are made. How did the experience of watching the original trilogy influence your work on Rogue One? A selection of Star Wars Kenner action figures available in the early 1980s. Then over the course of the next ten or fifteen years, I think I watched A New Hope, The Empire Strikes Back, and Return of the Jedi literally hundreds of times. It was mind-blowing, because the visual effects that ILM did for it were so revolutionary and groundbreaking. A few years after, I think ‘82, Star Wars came to Betamax and VHS, and then the year after that, in 1983, I finally saw Return of the Jedi in theaters. I read some of the comics later on, but the thing I loved the most back then were the toys. You couldn’t really call me a “film fan” at that point, but the franchise definitely existed in my universe. I was two years old when Star Wars came out, and five when The Empire Strikes Back premiered.
I genuinely think it was the toys that got me going there. If I think back about how I was first introduced to Star Wars, I think it had to be through the toys. Greig shares how the early Kenner action figures inspired his love of Star Wars, and the influences he found in 1970s cinema, the works of Andrei Tarkovsky, and the film The French Connection. The cinematographer for Denis Villeneuve’s Dune, and Matt Reeve’s The Batman, joins Industrial Light & Magic’s Publicity Group to discuss his work on Rogue One: A Star Wars Story. Greig Fraser on the set of Rogue One: A Star Wars Story.
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