American - Writer | 1977 -
The hardest part of writing 'William Shakespeare's Star Wars' was probably the sheer amount of iambic pentameter and tiptoeing around certain scenes I knew would be hot-button issues for 'Star Wars' fans.
Ian Doescher
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I had great English teachers in high school who first piqued my interest in Shakespeare. Each year, we read a different play - 'Othello,' 'Julius Caesar,' 'Macbeth,' 'Hamlet' - and I was the nerd in class who would memorize soliloquies just for the fun of it.
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I've spent so much time with iambic pentameter that I can now recognize it when I hear it in conversation or a movie - it's like a weird, useless superpower.
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The Ewoks were definitely a challenge of writing 'The Jedi Doth Return.' After having done so many things with characters who don't speak English, how was I going to make them stand out? Jedi is also rich with emotional material, particularly Darth Vader's transformation from the dark side back to the good.
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I always wanted Han Solo's confidence and swagger. My personality is way more C-3PO, but Han was always who I wanted to be.
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I grew up with the 'Star Wars' movies since before I have many memories. We had them on VHS back in the day, so they were part of the fabric of growing up in my family.
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People ask me whether I see 'Star Wars' as a comedy or a tragedy, but it's really neither - it's partly a history, like 'Henry V,' and partly a fantasy, like 'The Tempest.'
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Writing 'William Shakespeare's Star Wars' was a fun exercise in mixing just the right amount of the Bard with just the right amount of everyone's favorite galaxy far, far away.
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In writing 'William Shakespeare's Star Wars,' I had the freedom to go beyond the original script and add asides, soliloquys and even new scenes. The main characters all get a soliloquy or two - or in Luke's case, several.
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Visually speaking, nothing calls Shakespeare to mind like Hamlet holding Yorick's skull.
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In many ways, 'William Shakespeare's Star Wars' is modeled on Shakespeare's Henry V, which relied on a chorus to explain in words the battles of Harfleur and Agincourt that could never be captured on the Elizabethan stage.
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