Alan Dean Foster and Star Wars go way back to the beginning of it all. You may remember Foster as the author who ghost-wrote the novelization of the original Star Wars. He soon and unknowingly became the granddaddy of the Expanded Universe by writing the first piece of tie-in fiction approved by Lucasfilm called Splinter of the Mind’s Eye which takes place between Star Wars and The Empire Strikes Back. When it was revealed that Foster was returning to Star Wars once again many years later to pen a novel that would bridge the prequels Episode I and Episode II, fans were nothing short of delighted, especially fans like myself who enjoyed the original novelization. The new book is called The Approaching Storm and will be released in February of 2002. I was very pleased to talk to Mr. Foster and chew the Star Wars rag for a while. You can check out his website at www.alandeanfoster.com.
(Original Posting: July 03, 2002)
T-bone: When were the words Star Wars first mentioned to you?
Alan Dean Foster: In an interview at the office of entertainment lawyer Tom Pollock, on Sunset Blvd., in Los Angeles, prior to my being hired to write the novelization and sequel book. Pollock was Lucas’s attorney at the time, I believe.
T: When did you first meet George Lucas and what was your impression of him?
ADF: After being hired to do the two books, I was offered the opportunity to go out to ILM and meet him. ILM was then housed in an old warehouse in an industrial area of Van Nuys (on or near Kester Street, as I recall.) By coincidence, Van Nuys was where I grew up, so I knew the area well. My first impression of George was that he was just a regular guy who happened to make movies. He was quietly enthusiastic, and enjoyed showing me around, and showing me what he was doing. I was particularly taken with John Dykstra’s computer-controlled camera. The day I was there, they had a tie fighter set up in front of the blue screen, ready for shooting. Set up outside (I believe because they were too big to fit anywhere inside) were two Death Star surfaces, one of which was from Luke’s “canyon run.”
T: When you got the job, you were already writing Star Trek books and a few other things. Was this how you were recommended for the job?
ADF: I’m sure my previous novelization work (not only the Trek books but also John Carpenter’s Dark Star) had something to do with it. As I recall, someone mentioned something to me about someone involved with George (not George himself) having read a book of mine called Icerigger, and remarking that its spirit was similar to what George was doing.
T: So now you have this job of writing this adaptation. What’s the first step?
ADF: Read the screenplay and study any available visuals.
T: How much were you given and how much footage did you see? Were you privy to any artwork or designs beforehand?
ADF: I read only one copy of the script, which I believe was the final shooting script. As to footage, on the day I was at ILM, Saul Bass showed up. Saul Bass was already something of a legend in the film business, having changed the nature of film titles with such efforts as the Sinatra film about drug use, The Man with the Golden Arm. He had also won (I think) an Oscar for best animated film (or best short) for Why Man Creates? (a brilliant piece of work, if you haven’t seen it). George wanted to show him some rough effects work, and I was there too, so we all went up to the little screening room and saw some dailies of tie fighters zipping around and being blown up. Bass was impressed, and so was I. The footage had no sound, of course: no effects and no music. I also made an offer to George, which he accepted, to take a small 16mm reel of footage around to the Sci-Fi conventions I had planned to attend. This footage included some of what I mentioned, plus footage on the Millennium Falcon with sound effects and some music. The fans who saw that 16mm reel were probably the first people outside the production team to see finished, or near-finished footage. I was also given xerox copies of Ralph McQuarrie’s pre-production paintings which impressed me very much. I remember thinking to myself at the time, “This film is going to blow people away…if George can get it on screen.”
T: Do you still have that reel?
ADF: I wish I did have it, but it was never my property. When I was done with it, I returned it.
T: When you ghostwrite a novel, normally it’s never mentioned who the original author is, so how did that get out?
ADF: Dale Pollock did a book called SKYWALKING: The Life and Times of George Lucas in which he mentioned me as the author of the novelization. At that point it seemed foolish for everyone to try and maintain the secrecy. Prior to that I had spent several years lying facilely to people about the true authorship. Some did figure it out by noting the similarities of style with my other work.
T: When you turned in your novel, were there any changes you were asked to make and did you disagree with any of them?
ADF: None. George approved it as written. He did request a couple of changes to Splinter of the Mind’s Eye.
T: Can you give me a few examples?
ADF: The main change involved the opening of the book. I had started out with an elaborate space battle. This was what forced Luke down on Mimban. Bearing in mind his intention to keep open the option of filming Splinter on a low budget, George asked me to delete the sequence, which I did (and you are not the first to ask—even though you haven’t yet, but I know you’re thinking it—if that piece of writing still exists. I think it’s gone forever.) As to other changes, they were all minor and I can’t recall them.
T: I remember reading that Splinter of the Mind’s Eye was actually supposed to be the sequel to Star Wars. How did it end up remaining a book?
ADF: When George commissioned Splinter, he wanted me to write a story that could be filmed on a low budget. That’s why, for example, everything takes place on a fog-shrouded planet. His idea was that if Star Wars didn’t flop, wasn’t a huge success but maybe made a few bucks, he would have a story in hand that could be done using many of the props, costumes, etc., from the first film. It’s the approach of a good engineer, who always includes a backup system in his design. The book was written and completed before Star Wars was released, hence it was always intended to appear as a book. Also, proceeding on the assumption that the film was a success, George didn’t want any fans to have to sit around and wait for the next film. He wanted them to have additional Star Wars material available.
T: Did you have any other special instructions from George and Lucasfilm?
ADF: I was told not to use the Han Solo character, as a deal had not been struck with Harrison Ford for his future participation. Nothing else was given to me. I was told to go and write a sequel novel, which I did.
T: At this point, no one knew that Luke and Leia were related. Did you want Leia to be romantically involved with anyone in particular? Luke or Han?
ADF: I really didn’t see Leia ending up with either of them. Solo was too much of an unpolished rogue—that’s the type women want for lovers, not husbands. And I saw Luke moving on to much greater things. I saw Leia as more of a crusading politician. After all, her entire home world was blown up before her eyes. I think she and Queen Amidala would have gotten along well.
T: Did George or anyone mention to you the possibility of Luke and Leia being related?
ADF: The possibility of Luke and Leia being related was never mentioned to me, and you’d have to ask George exactly when the notion occurred to him. As for sexual tension between them, I think that still works. Look at all the fuss over that kiss Angelina Jolie gave her brother. But that’s not Star Wars territory (*smile*). It didn’t tick me off when George went that direction with their relationship. Why should it? It’s his universe, not mine.
T: Getting back to the Star Wars novelization, were you surprised at any of the differences between what was in your novel and what ended up on the screen?
ADF: Not really, no. They’re quite close.
T: There’s a passage in the book where Obi-Wan mentions a “duck” to Luke and he has no clue what that means. Can you explain?
ADF: Without going back and re-reading the passage in question, I suspect it was a way of pointing out that Luke had grown up in a desert. I might also have been making a reference to the famous Marx Brothers line. If I had to do it today, I wouldn’t have put it in because it would have been a reference to a creature of Earth which does not belong in the Star Wars universe.
T: What did you think of all the Biggs scenes that were eventually cut from the film?
ADF: I actually asked George why he cut those scenes. He told me that he did it because a) he felt it slowed the film at that point and b) Biggs was too strong a character to introduce at that point, and he felt the character might detract from the audience learning about and focusing on Luke. Made perfect directorial sense.
T: What were you given as far as a description of Jabba? Were you told anything about him at all?
ADF: No, nothing, really. Without any indication to the contrary, I envisioned him as human. I like him much better as a gross alien.
T: This is obscure, but do you remember a part of the book where, in the conference room on the Death Star, Vader chokes Tagge (in the film, it’s Motti) and before he does it, he floats a cup over to himself using the Force. Was that in the script?
ADF: As I recall, the floating cup was my invention. A way of illustrating Vader’s casual mastery of the Force.
T: What would he have done with it?
ADF: I didn’t think that far ahead. At the time, nobody knew whether Vader’s mask was fixed, whether he could breathe without it, or even if he was human, as opposed to being an alien or a droid.
T: When was it made clear to you that Luke’s last name was to be Skywalker and not Starkiller? Had you already begun writing?
ADF: I had already begun writing, yes. I’m afraid I can’t tell this story yet. For various reasons, I may never tell it.
T: The Prologue to the Star Wars novel gave us the first glimpse of what came before Star Wars. Where did that come from?
ADF: During a recent visit to Skywalker Ranch I was recently asked this same question by several executives, and I confess that my memory is clouded on the subject. I believe there was a line or two preceding in the screenplay including the mention of “The Journal of the Whills,” and that I then expanded on that…but time plays tricks with the mind. As to who the Whills are and why they are mentioned, perhaps we’ll find out if George ever decides to do Episodes VII-IX. I have my own ideas, but…
T: The quote from Leia that ends the prologue: “They were in the wrong place at the wrong time. Naturally they became heroes.” Where did that come from?
ADF: I’m pretty sure that came from me. I have a fondness for ironic humor, and that line fits.
T: Do you still get any royalties from your Star Wars books?
ADF: I still get royalties on the two books, yes. Initially, I had no royalty on the novelization. One day we had a brief story conference on Splinter at Lucas’s office, which was then a rental on the Universal Studios lot. Me, George, Gary Kurtz, and PR man Charles Lippincott. In the course of the chat, out of the blue, George said, “By the way, I’m giving you a half percent royalty on the novelization.” I told him he didn’t have to do that as I was quite satisfied with the arrangement I had agreed to, but he insisted. It was his way of thanking me for having done a good job. Like I said earlier, a regular guy.
T: What did you think of The Phantom Menace?
ADF: I thought it was beautiful to look at, with some very exciting sequences. I thought the writing needed work. I know from experience that prequels are agonizingly difficult to write. The writing in Episode II is better. The criticism over the use of ethnic human accents for some of the aliens really floored me. Growing up reading written Sci-Fi, that’s frequently how alien phraseology is done: by applying human accents. PC overkill, in my opinion. I had problems with the military tactics displayed by Jar Jar’s people. I wouldn’t meet a droid army on an open plain. Jar Jar’s folks being amphibians, I would have tried luring the robots into the water. That would have made for some interesting shots. Could’ve made use of some of those monster fish, that sort of thing. But I only write books. Of course I had trouble with Anakin being able to fly a fighter during a space battle, but being unable to open the door. Stuff like that. It’s so easy to overlook when you’ve got ten million other demands on your time, all of them simultaneous. Nothing like hindsight on an expensive, multi-year film project.
T: Did you read Terry Brooks’ adaptation and if so did you like it?
ADF: No, I didn’t. My eyes have grown weak for reading purposes over the years and I have to ration my reading…mostly for non-fiction.
T: Have any other Star Wars authors contacted you for advice?
ADF: Nope…nor should they. Lucasfilm is the source for that kind of thing, not me.
T: Do you keep up with all the Star Wars/Sci-Fi news and rumors?
ADF: I’m a fan of any good Sci-Fi, and try to keep up with it. Two particular recent favorites of mine are Dark City (a minor masterpiece) and Pitch Black.
T: Where and what time of day do you do most of your writing?
ADF: Early in the morning, between 7 and 12, though I will occasionally write in the afternoon. I have a study, in a separate building on our property.
T: Are there any stories you have had lying around forever that you keep saying you’ll get done some day?
ADF: Nope. I do ’em as they occur to me, although I would like to finish the family saga I began in Maori some day. But that’s historical fiction, not Sci-Fi.
T: What is it about Sci-Fi and Fantasy that first attracted you to writing it, and also what is it that keeps you writing in that area?
ADF: Complete freedom, and the chance to explore worlds and beings that only exist in my imagination.
T: What was the first Sci-Fi you remember?
ADF: The first Sci-Fi book I read was the famous children’s book, The Spaceship Under the Apple Tree. The next one was The World of Null-A, by van Vogt. It tied my 13-year old brain in knots. After that, I gave up Sci-Fi until I was 15. The first Sci-Fi film I remember seeing was Forbidden Planet, at the Van Nuys drive-in on Victory Blvd., in Van Nuys, Ca. It was 1956. I was 10. Nothing has scared me as badly ever since. I kept seeing the Monster from the ID outside my bedroom window for months afterwards (Spielberg has his tree, I have the ID). But it utterly fascinated me.
T: I noticed on your site that you have bench pressed 315 lbs. How long have you been into weight training?
ADF: Since I was 37. I decided I had to do something serious to maintain a semblance of physical conditioning, so I looked for sports that could be engaged in literally until death or disablement. When it came down to golf or weightlifting, the choice was easy. I consider golf a hobby, not a sport. I’ve seen people sweat more at chess matches. As far as lifting, I promised my wife I’d back off the heavy stuff. I have some nerve damage (from lifting) in my right arm that gives me trouble, and it would be foolish to press the matter (pun intended) too far. I also do some swimming and play basketball (or try to). I didn’t do athletics in school and pride myself on doing them now. It’s all a matter of self-discipline… just like writing.
T: How long does it typically take for you to write a novel? You enjoy traveling and the outdoors. When do you find the time?
ADF: A novel generally takes me 3-5 months, but if pushed, I can do one in much less time. Traveling and exploring is what I love to do… both in real life and in my imagination. My exemplar would be Sir Richard Francis Burton, but he was a far braver man than I could ever be. I have done a few things that many people consider dangerous, but I don’t. It’s really a matter of being well-prepared. Some things you can’t prepare for. Nobody at the game reserve in Namibia where I met Felix, for example, knew that a cheetah doesn’t like to be scratched between its front legs. It was up to Felix to tell me, which he did, politely. Nobody knew for sure that a great white shark would eat an empty beer carton, either. That’s one piece of footage you won’t see on the Discovery Channel.
T: You wrote novelizations for many of the prominent late ’70s and early ’80s genre films, like Alien, Clash of the Titans, and even Krull. What special knack does an author need to play in someone else’s universe with so many restrictions?
ADF: Just be a fan. We all do it, sitting in theaters, mentally criticizing what we see on the screen. I just get to do it in print, and get paid for it. But any group of knowledgeable fans could do the same, and many do so, in fanzines and elsewhere.
T: Did you ever bring anything new or different to the table in adapting these films to print?
ADF: Oh, many things! That’s the fun of it. You get to correct the producers’ mistakes (hindsight, remember?) and expand on the situations and the characters. Usually, the producers leave you alone to write the book. Whenever they do get involved, it sometimes gets unpleasant. Alien 3 was an especially unhappy experience.
T: Parallelities is a brilliant exploration of multiple realities. Any chance of another novel with such mind-bending twists and turns again?
ADF: Thank you. Probably not. Writing the way I do is kind of like running a Baskin-Robbins. Far more people like vanilla and chocolate chip than pistachio fudge coconut espresso. But you have to try new things from time to time, or you get stale, whether you’re a writer or a chef.
T: You’re currently writing a Star Wars novel that takes place between Star Wars Episodes I and II called The Approaching Storm. Can you tell us anything about it?
ADF: I’m very sorry, but that’s classified information. I returned to Star Wars because it seemed like fun. Also, the opportunity to lead directly into Episode II was intriguing.
T: Is this a one shot deal?
ADF: If I could predict the future, I’d have bought Microsoft 20 years ago. Who knows?
T: Have you seen George Lucas or been to Skywalker Ranch lately?
ADF: I was at the Ranch earlier this year, to read the screenplay for Episode II prior to writing The Approaching Storm. I didn’t get to see George as he seems to be busy with one or two things. People have absolutely no idea what making a film like that entails. You have absolutely no time to yourself. Just ask James Cameron.
T: Have you seen any Episode II footage?
ADF: I haven’t seen any footage from Episode II. As I mentioned, I did read the script. I think it’s better written than The Phantom Menace. It doesn’t have to carry the baggage of being Episode I. There’s some wonderful stuff in it. There’s one small thing I particularly wish George would do within it that involves a specific effect, but again, I’m not in that loop.
T: Are you a fan of Blade Runner?
ADF: I’m a huge fan of Blade Runner, especially Rutger Hauer’s performance (still the best thing he’s done, I think). Ridley Scott has the ability to get intense performances out of his actors. Think also of Darryl Hannah in the film.
T: Let me have your top 3 definitive Sci-Fi Films and Books.
ADF: Definitive 3 films: Metropolis, Things to Come, and Forbidden Planet. After that I’d add Blade Runner and Star Wars. Definite 3 books: Childhood’s End, Dune, and the Foundation trilogy. After that, add the short stories of Robert Sheckley. My favorite 3 “non-definitive” sci-Fi books would be The Lost World (Doyle), Next of Kin (Russell), and Pirates of Zan (Leinster).
T: What’s the funniest Star Wars story you can tell me?.
ADF: My wife and I attended a pre-release crew screening of Star Wars. It was the first time many of the people who had worked on the film saw the finished movie. The showing was at the old Academy of Motion Picture Arts & Sciences theater in Hollywood. As we walked in, I saw Gary Kurtz standing in the aisle. Making small talk, I said, “Wouldn’t it be great if they could show Duck Dodgers in the 24th and a Half Century before the film?” He said, “Uh-huh,” and we moved on.
Sitting down, my wife nudged me and whispered, “Look at who’s sitting behind you!” Reluctant to be so blatant, I nonetheless turned, to see a fairly nondescript, long-haired, skinny guy about my own age.
Turning back to my wife, I said, “So?”
“That’s Alice Cooper!” she hissed excitedly.
“Alice who?” I replied. Classical music was my forte.
“Alice Cooper!” she reiterated, as if that was explanation enough (which it was, but not to me). “Say something to him!”
“What can I say? I don’t know the guy. You want to say something, you talk to him.”
“Oh no, I couldn’t! You do it. Say anything.”
So I shrugged mentally, turned around, and said, “Wouldn’t it be great if they showed Duck Dodgers in the 24th and a Half Century before the film starts?”
Cooper lights up and says, “Hey, you like old Warner Brothers cartoons, too?”
So we spent the remaining five minutes before the lights dimmed discussing Bob Clampett, Chuck Jones, etc.
The lights go down, and guess what comes up on the screen?
Duck Dodgers in the 24th and a Half Century.
Kurtz and Lucas’s way of a) diffusing the tension and b) paying homage to a great work of Science Fiction.
After its all over and my wife and I are leaving the theater, she slams me in the side. Hard. “What did you do that for?” I ask plaintively.
She looks back at me and says, “You spent five minutes talking to Alice Cooper, and all you could find to talk about was a bunch of old cartoons?”
* This interview has been slightly edited from its original form.
(Original Posting: July 03, 2002)