这一历史性决策证明了卢卡斯是一位商业奇才,即使电影衍生玩具等他认定的某些优先要务令早期的合作伙伴感到颇为头痛。《星球大战》的制片人加里·科茨(Gary Kurtz)是一名摩门教徒,他认为科幻传奇中蕴含着一种神秘的、有关精神的潜台词(成长于卫理公会教徒家庭的卢卡斯也持同样观点)。科茨在星战续集《帝国反击战》(The Empire Strikes Back, 1980)推出后离开了卢卡斯影业,因为他感到琐碎小事已经取代了精神意象。但有关卢卡斯电影的争议仍在继续,形成了媒体风评与票房表现分化对立的局面。影评人习惯性地抨击《星球大战》的续集电影,1999年开启了前传系列的《星球大战前传I:魅影危机》(Star Wars Episode I: The Phantom Menace)也遭到了批评,虽然这是卢卡斯在交出了前两部续集导演权之后重执导筒的作品。但电影观众一直热捧并喜爱星战系列电影。即使像加·加·宾克斯(Jar Jar Binks)这样被普遍批评为是带有种族主义色彩的塔法里教徒式太空生物都没能影响观众的热情。
Mr Lucas himself had too thick a hide, some opined, or too many hiding places in his prodigally expanding empire, to be hurt. In the early years of Star Wars’ success the subsidiary companies and state-of-art facilities spinning out from Lucasfilm kept Hollywood dizzy. Industrial Light and Magic was the last word in visual effects. Skywalker Sound raised the bar for sound-mixing and editing. The Lucasfilm computer graphics division was sold to Apple’s Steve Jobs, then morphed into the spectacularly successful Pixar Animation (bought by Disney in a warm-up deal for $7.4bn).
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