Controlled by droid brains, these starfighters are fast, deadly, and require no pilot they can also land, invert their wings and walk, making them versatile and unique from any other craft on this list - and it's a feature that gives them an added dimension of creepiness. Also, this is a starfighter-only list - craft that are part of a mass fleet - thus, there is no Millennium Falcon, Slave I, Death Star, etc.ĭebuting in The Phantom Menace, the droid starfighter is essentially the TIE fighter of the prequel trilogy - the most identifiable aerial weapon of choice for the Trade Federation and later, the Separatists. Ranking was also decided by the crafts' design, role in the saga, and to put it simply, overall cool factor. Note: This list is not based strictly on technical specs or firepower of starfighters. Today, we pick the top starfighters in the Star Wars films. Welcome to The 10, a feature where ’s editorial staff huddles to discuss - in a committee - various topics relating to a galaxy far, far away. I kept practicing and improving, constantly asking myself if my work was good enough to sit alongside theirs, and fortunately Doug called me to join his team for a few months.The team ranks the top starfighters of the Star Wars films! Warren Fu: I wanted to be on Doug Chiang’s design team at Skywalker Ranch when Attack of the Clones started pre-production, so after hours I studied the work of the artists in the JAK art department, like Iain McCaig and Jay Schuster. Star Wars Insider: You became more involved in the sequel, Star Wars: Attack of the Clones (2002). Seeing that he was a successful Taiwanese American with experiences similar to mine also really inspired me. The most important thing I learned from Doug was that you don’t have to be intimidating or mean to be a strong leader. You respected him and worked hard because he knew exactly what he was talking about. He had a calm, yet assertive way of communicating. A lot of artists I knew in my classes were quiet, shy types, but Doug was this confident artist and leader that was George’s right-hand man in creating the visual language of the new trilogy. Nak ended up being like a big brother, a friend, and a mentor throughout my time at ILM.Ī big turning point in my Lucasfilm career was seeing Doug Chiang around ILM doing review sessions. I also worked on a few matte paintings on that film, earning my first credit as a concept artist. I went on to do more on The Phantom Menace, designing display screens and storyboarding. It was a big moment for me when I saw that binocular shot on the big screen during dailies and George Lucas approved it. Visual effects art director David Nakabayashi (aka “Nak”) was the first to believe in me, giving me small assignments, like the display graphics for Darth Maul’s binoculars. When postproduction on Star Wars: The Phantom Menace (1999) began, I was hired as a full-time production assistant. I was making photocopies, doing research, and organizing art from Men in Black (1997) into binders. Warren Fu: I started at Industrial Light & Magic as an art department intern during my last semester at UC Berkeley. Star Wars Insider: How did you become part of the Star Wars movie making process? In an exclusive excerpt from Star Wars Insider issue 213, the creative force behind the design for General Grievous tells writer James Floyd how working on the saga was just the first chapter of an incredible journey in visual storytelling, from art assistant to film director. However, his trailblazing career began in the art department at Industrial Light & Magic on the Star Wars prequels. Warren Fu has made his mark on the short-form video world, from award-winning commercials to award-winning music videos, with some of his clients including such powerhouses as Adidas, PlayStation, Taco Bell, and Samsung. In this exclusive excerpt, learn how the artist worked his way from ILM intern to the art department and beyond.
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