000-1Attack of the clones: made in Australia

We have long been interested in working in Australia with its incredible pool of talent. We now have that opportunity at the wonderful facilities of Fox Studio Australia… they have been instrumental in our decision to shoot here.’

The announcement that Sydney would host the production of Star Wars Episode II Attack of the Clone, and also Episode III, gave the Australian film industry an important opportunity to participate in the development of the Star Wars saga. The original Star Wars trilogy, together with Episode I, was filmed largely in the United Kingdom.

Principal photography took place in Sydney between June and August 2000, with Australian film crews and production staff helping to turn George Lucas’ vision for Episode II into reality. Australasian acting talent was also highlighted in the film, with many Australian and New Zealand actors, such as Jack Thompson and Terruera Morroson, in supporting roles.

*Rick McCallum, Star Wars producer, 1998

001-1Heroes of the Jedi (Jedi library sculptures)

The Jedi honour the most wise and powerful members of their order by placing their busts in the Jedi Temple Library. Here they may serves as inspiration to the Jedi initiates padawans and knights who daily use the library in their training and assignments.

Famous living Jedi, such as Yoda and Count Dooku, are enshrined as sculptures in the Library alongside the Order’s ancient heroes.

These busts of Yoda and Count Dooku and their pedestals, were used during the filming of Star Wars: Episode II on Sydney. They were sculpted by local artist Matt White (Dooku) and Lewis Mortsy (Yoda).

002-2 High-flying chase (Anakin’s speeder and Zam Wesell’s speeder)

George Lucas has a love of classic automobiles and spent some of his teenage years racing hotrods. That love helped inspire the chase scene where Anakin and Obi-Wan pursue Zam Wesell on a wild flight through the skyways of Coruscant.

Anakin’s ‘hot rod’ speeder, with the feel of a race car, was designed by concept artist Jay Shuster, with interior detailing by Australian modelmaking supervisor, Peter Wyborn and his team. Design director Doug Chiang’s sleek and sinister lines for Zam’s speeder imply power, speed and stealth.

Speeder chase through the ‘Old City’ on Coruscant (digital concept painting by Ryan Church)

The graphic on display is a segment from Ryan Churchs’s original desital artwork, depicting the beginning of the speeder chase through Coruscant ‘Old City’. The complete image is shown above.

003-1 The gathering darkness

The once-bright Republic has become stained with a growing darkness. Crime and corruption thrive and assassinations are an easy solution to controversy. Even within the ranks of the Jedi, the Dark side is at work. Obi-Wan discovers tampering in the Archives Library, in the very heart of the Jedi Temple. Little does he realise, looking at the bust of Count Dooku, that the power if the Force gas been corrupted.

In this environment, Anakin Skywalker struggles with the rigorous self-discipline required by the Jedi. He often uses his phenomenal powers in an emotional way, revenging the death of his mother, or falling in love with Padme Amidala.

The most important task of the hero is to make the right choice. Heroes must put aside their pride, feelings and personal life, using their powers to seek justice rather than dominance, fighting because they must, not because they are consumed by revenge. As Anakin discovers, this is no easy task and he is repeatedly tempted to use the Force for his personal ends.

Like Yoda’s young, innocent Jedi trainees, Anakin possesses the creative and redemptive force that is hidden within us all. His struggle will be to bring those life-potentialities successfully into adult realisation.

004-1A forbidden bond

When Padme Amidala and Anakin Skywalker travel to Naboo, the journey becomes a spiritual transition as they begin to open their hearts to one another.

This spiritual, romantic love between two individuals was celebrated in medieval European myth as ‘Amour’. In the 12th century, Amour was considered a revolutionary concept, as marriages were arranged for social or political reason and spirituality was associated exclusively with religion. Individuality was subject to strict limitations within the concepts of moral obligation and adherence to an ethical code.

Anakin and Padme have likewise dedicated themselves to duty and honour at the expense of their personal lives. Part of Anakin’s Jedi training requires him to distance himself from relationships; Padme is a leader of her people and resolutely focused on serving them. Yet his passion and her compassion break down these barriers, and allow love to attain their hearts.

However, Amour also opens the heart to suffering, as illustrated in medieval myths such as those of Lancelot and Guinevere, Tristan and Isolde, and Romeo and Juliet. Like those lovers, Anakin and Padme must pay a heavy price for choosing to value love instead of duty and social obligation.