IIIa: Creating the Tatooine Desert

It's well established that the Tunisian desert footage in the original Star Wars film was very difficult to shoot. The droid props weren't ready on time, the sole radio-controlled robot was apparently damaged during air transport to North Africa, the weather provided torrential rainstorms, a truck carrying some of the background droids caught fire, and endless technical challenges arose. Accordingly George Lucas wasn't able to film all the Tatooine material he intended. Furthermore, new ideas came about as his team of editors - Marcia Lucas, Paul Hirsch, and Richard Chew - worked on the movie and pointed out missing areas and ways to improve the story.

The pickups

Lucas' solution was to film a series of brief "pickup" shots in California while the film was in post-production. These pickups were so skilfully shot and woven into the Tunisian footage that you'd never know that the desert planet was actually a bunch of totally separate locations, shot many months apart.

Most of the exterior pickups were filmed by fellow Coppola protegé Carroll Ballard; credited with "2nd Unit Photography." Ballard turned out to be an apt choice for the Jawa and Bantha sequences in particular, despite his skepticism about the movie. He went on to direct a number of movies with strong visual narratives that focus on thoughtful and lyrical depictions of the natural world, including The Black Stallion and Never Cry Wolf. Ballard also shot the cantina pickups - all the brief views of various monsters - in a small studio in Hollywood on 24 January 1977.

Note that I said "most" of the exterior pickups. At least one of the shots of the landspeeder (with its mirrored underside) cruising across California salt flats was filmed by Bob Dalva, another Coppola associate who went on to an acclaimed career as a film editor. The sandcrawler miniature was filmed by John Dykstra, Richard Edlund, Joe Johnston, and Grant McCune, from ILM. And the Rebel base exterior was filmed by Richard Edlund in Tikal, Guatemala, with ILM modelmaker Lorne Peterson as the rebel sentry in the garbage can on the post.

Filming two Jawas in Sidi Bouhlel canyon, Tunisia.

I describe some of these pickups in detail in the previous chapter, but this page shows the actual desert arrival and Jawa attack sequences in the film, scene by scene with screenshots.

The additional footage adds two main things to the story. First, it improves the sense of an actual conversation taking place between R2 and 3PO in the landing scene, thus giving more personality to the small wilful droid. And second, the additional canyon footage of the lurking yet cowardly Jawas increases the audience's sense of foreboding and jeopardy as R2 determinedly forges onwards, despite the dangers. The little robed figures with their mysterious glowing eyes also add to the sense of alienness of this distant planet.

Another thing of note is that much of the sequence - from the start of the crashed escape pod to R2-D2’s capture by the droids - is presented without any music. Only the segment of 3PO solo, cursing R2 in the dunes, has music. The rest of the footage only features dialogue, foley sound effects, and Ben Burtt’s legendary special sound design. This decision definitely contributes to the naturalistic sense to the sequence.

The droid props

There are, however, a number of continuity errors that result from the pickups, particularly because of the different droid props that were used for the different sequences. And this has been a problem for droid builders who want to make a reasonably screen-accurate robotic replica!

From what we can tell, two droids were shipped to ILM from Elstree once filming in England was complete. One was the sole radio-controlled (RC) unit, and the other was the unusual R2 with a number of visual differences from the others. This second droid I refer to as the "Identities" droid since it's the prop that's been on tour with the Star Wars Identities exhibition. It wasn't designed to accommodate a performer, and had a manually extendable middle leg for three-leg poses.

The RC R2 was refurbished and repaired, and it's likely the Identities droid was as well. A number of subtle differences exist between the RC R2 as it appeared in Tunisia and England, and the way it appeared in California for the pickups and public appearances in 1977 and 1978. There's no evidence that domes were swapped between the two props - there are specific differences between them.

A hearty thank you to Mitch Darby, for his detailed research of the California sections of these sequences in particular.

Filming the first desert sequences

After the frenetic space battle and the clinical interior of the doomed Blockade Runner, the film transitions, via an old-school Hollywood wipe, to a long establishing shot: a telephoto zoom that shows the bleak surroundings of the hapless droids. This was filmed on the Nefta dunes near Tozeur, Tunisia.

Long shot, end of the zoom with the longest focal length. Nefta dunes, Tunisia. Fibreglass “Frankendroid“ R2.

Nefta dunes, Tunisia.

No wheels, but sleds, are visible on the underside of R2's feet. These are used to drag R2 across the sand with a very long wire. Note how R2 has a very long and exposed middle ankle, indicating the use of the fibreglass Frankendroid used as the R5-D4 robot during the droid auction scene. In fact its middle leg is actually an outer leg hastily installed, which is why its ankle looks so assymetrical. It also has a very shiny and reflective neck ring and front “coin slot” detail.

Possible cropped shot of the scene below, to draw attention to C-3PO and crop R2 out. This theory explains why this shot and the one a moment later appear to be so grainy and low-resolution.

Nefta dunes, Tunisia. R2 being pulled up the slope on a wire. A Kenny R2 tilted back, since it's cleaner than the radio-controlled (RC) R2 seen later.

Nefta dunes, Tunisia.

Nefta dunes, Tunisia. Kenny 2-leg hero droid, tilted back to resemble 3-leg mode.

Kenny Baker inside, operating the head. Sun is coming from the right. Note the four-point highlights on reflections: a characteristic look resulting from the nylon stocking that was put over the lens for these shots.

Nefta dunes, Tunisia. Possible cropped shot. Nylon stocking four-point star on highlights.

Nefta dunes, Tunisia. RC R2 rolls on hidden plywood sheets, and appears to be steering successfully in this shot. (you'll notice that the body angle changes as he moves along)

Note the dirtier body shell, plus the cleaner smudge on the left panel where the restraining bolt was located. That’s because this sequence was shot a couple of days after the droid auction sequence, which narratively appears later in the film.

Nefta dunes, Tunisia. Kenny R2 tilted back.

Kenny Baker inside, operating the head. Body is suddenly cleaner since it's not the RC R2.

Nefta dunes, Tunisia.

Death Valley pickup shot, RC R2.

Suddenly we're at the Mesquite Flat sand dunes, California, the following year! ILM-modified RC R2 with the pickup-era unpainted left silver panel and blue magic panel. (earlier in the shoot this droid had a blue panel to the left of the magic panel, and the middle of the magic panel was bare metal and not blue)

Nefta dunes, Tunisia. RC R2, barely able to move on the hidden plywood boards.

Death Valley pickup. RC R2.

Low lens quality, no evidence of the nylon stocking star-filter effect as used in Tunisia, and the sun is now coming from the left. Someone's fingers are briefly visible at the left edge of the dome, turning the head, in this short sequence. (fingers not seen in this screenshot) It’s likely this and other Death Valley shots were colour-timed (ie: the colour was adjusted) to more closely match the Tunisia sequences.

Note how Threepio's right “underwear” leg appears to be on the outside of the right thigh, rather than properly tucked in. No wonder poor Anthony Daniels had so much discomfort walking around!

Death Valley pickup. RC R2.

A dark blue coat sleeve, or something similar, is briefly visible at the lower left edge of R2's dome in this sequence. At least in the original releases of the film - the sleeve was digitally removed for the Special Edition. (sleeve not visible in this screenshot)

Nefta dunes, Tunisia.

Death Valley pickup. Mesquite Flat sand dunes, Death Valley, California.

“Identities” droid with third leg lowered. Droid is dragged along the sand with flat "runners" or "skis" on soles of the feet. Arguable continuity error with clear sky compared to the previous shot. Though I guess you could claim that this shot was later in the day, and the sky had cleared in that direction.

Death Valley pickup. Artoo's Arroyo, next to the Artist's Palette parking lot, Death Valley, California. Rebuilt RC R2.

The Special Edition begins the sequence with a simulated tilt down, from a composited sky and additional landscape.

Death Valley pickup. An unknown child extra plays a Jawa in Golden Canyon, Death Valley National Park.

This scene couldn't be filmed like this today, because the large rock has dropped down further towards the ground since 1977.

Death Valley pickup. Artist's Palette. RC R2.

Death Valley pickup. Golden Canyon. Unknown child extra as a Jawa.

Death Valley pickup. Probably Artist's Palette. RC R2.

Death Valley pickup. Golden Canyon. Unknown child extra as a Jawa.

Death Valley pickup. Artist's Palette. RC R2.

Head turn probably performed by a child behind the droid, since the RC R2 had no head motor at this time. The child's legs are just visible behind R2's middle leg in this scene.

Death Valley pickup. Golden Canyon.

Death Valley pickup. Artist's Palette. RC R2.

Notice how badly beaten-up the RC prop is by this point in filming.

Death Valley pickup. Golden Canyon. Unknown child extra as a Jawa.

Death Valley pickup. Golden Canyon. RC R2.

Note how the area in front of R2 has been carefully cleared and smoothed.

Death Valley pickup. Golden Canyon. Unknown child extra as a Jawa.

Death Valley pickup. Golden Canyon. RC R2.

Back to Sidi Bouhlel canyon, Tunisia. RC R2. Day for night shot with filtration.

Unlike the Golden Canyon shots, this has a locked-off camera and is not hand-held. Incidentally, this canyon was used for the Jawa attack sequence, for the Sandpeople attack sequence, for our first meeting with Kenobi and, some years later, for the grenade launcher scene in Raiders of the Lost Ark.

Sidi Bouhlel canyon, Tunisia.

There are several tells that this was filmed in Tunisia. The Jawa eyes have the characteristic look of nylon stocking over the camera lens. The Jawas have white mud on their hoods, and you don't see that on the Death Valley Jawas. Finally, there is actual behind the scenes footage of this moment being filmed in Tunisia.

Sidi Bouhlel canyon, Tunisia. RC R2 droid, rolling on mostly hidden plywood (the top edge of the plywood surface is just visible to the right). Day for night footage.

Initially I thought that the camera was tilted to make R2 look like he was going downhill. But I've seen a making-of photo that indicates that a small shallow pond was located in front of this slope. And the water level indicates the correct angle – and R2 was indeed rolling down the hill. That's a pretty steep hill, so I wonder if he was actually on a line and being lowered down, effectively. Note also that the octagon disc detail is present.

Sidi Bouhlel canyon as above.

Sidi Bouhlel canyon, Tunisia. RC R2.

Sidi Bouhlel canyon, Tunisia.

Jack Purvis as the Chief Jawa.

Sidi Bouhlel canyon, Tunisia. RC R2 with optical effects. The complex animated zaps were hand-drawn and animated by rotoscope artist Adam K. Beckett. He was a young experimental filmmaker who died tragically two years after Star Wars came out.

Sidi Bouhlel canyon, Tunisia.

Jack Purvis as the Chief Jawa. Unknown performer to left.

Sidi Bouhlel canyon, Tunisia.

First view of "Artoo's Rock". More rotoscoped optical effects with RC R2. Note the silver magic panel.

Sidi Bouhlel canyon, Tunisia.

Surprisingly, this is a different R2 from the previous shot! It's not the RC R2 as the front data port isn't damaged, its front holo is centre-aligned, and there's a noticeable black mark on the dome. This appears to have been a Kenny dome used to simulate R2 going from 3 leg mode to 2, since you can see him sort of hunching upwards. It also seems to have some of the same scratches in the blue panels as the Kenny R2 used in the Nefta dunes sequence.

It's not a pickup shot because it doesn't resemble the two props used in California, the lighting is identical to the previous shot, and the cliff wall behind is the same as seen in the RC R2 shots.

Sidi Bouhlel canyon, Tunisia.

And now a third R2 is used! One of the lightweight shell R2 props topples over - it isn't the same as either the RC R2 or the one used in the previous shot, since it has different scratches and marks on the dome. The octagon port disc detail is missing, indicating this is probably the same R2 used for the landspeeder sequence.

This stunt robot was tracked down and interviewed many years later by a second-run celebrity TV show. "They had me fall on me face, over and over," he remarked bitterly from a decrepit caravan in a field near Huddersfield, beeps clearly slurred. "And did I get any credit for it? No! None at all!"

Sidi Bouhlel canyon, Tunisia.

Music finally returns to the film. John Williams’ jaunty “The Little People Work” cue begins with pizzicato strings.

Sidi Bouhlel canyon, Tunisia.

Note how Jack Purvis as the Chief Jawa holsters his gun and jumps down twice. Footage from two takes is repeated to extend the sequence.

Sidi Bouhlel canyon, Tunisia.

A very clear view of Artoo's Rock; a popular nerd tourist attraction in Tunisia today. The snake charmer-like main melody begins, played on the oboe.

Sidi Bouhlel canyon, Tunisia.

Probably the lightweight shell R2. Note that the dome has a magic panel that's painted blue. This panel is deeper than those found on the aluminium domes, indicating that it's a cast fibreglass dome.

Death Valley pickup. Near Artist's Palette.

Hired local schoolchildren in Jawa robes struggle to carry the heavy Identities R2, which still has its sled foot soles installed. This screenshot is from the Special Edition - in addition to the matte painting of the Sandcrawler vehicle seen in both versions, the sky has been improved and stars added. Note how the painting is probably based on th model of the Sandcrawler, since its steps are up.

Outside Sidi Bouhlel canyon, Tunisia.

The steps are now down. The full-sized Sandcrawler set was built in the parking lot outside the canyon for two scenes - this moment plus the daytime discovery of the dead Jawas. Only the parts of the vehicle visible in this shot were actually constructed full-size. Star highlights are very visible on the spotlights, showing that the nylon stockings were used in this shot as well.

Outside Sidi Bouhlel canyon, Tunisia. Full-sized Sandcrawler set.

Probably one of the lightweight shell R2s. Note the unframed charge panel door above the coin slots. Interestingly, Williams plays against type at this point, using a bassoon melody to underscore the movements of the tiny Jawa.

ILM pickup in studio, California.

Closeup of the "Identities" droid: note the framed charge panel door above the coin slots and the missing left under-shoulder detail. Apparently kneeling production assistant Penny McCarthy plays the Jawa, or at least the Jawa's hands and arms, in this brief pickup.

Outside Sidi Bouhlel canyon, Tunisia.

Full-sized Sandcrawler set with a lightweight shell R2.

Outside Sidi Bouhlel canyon, Tunisia. Full-sized Sandcrawler set.

The lightweight shell R2 was lowered down from the tube on wires, then the sequence reversed and sped up for the “suction” moment.

Outside Sidi Bouhlel canyon, Tunisia. Full-sized Sandcrawler set.

On to part IV: Naming the Parts of a Droid

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