In celebration of Empire's 30th anniversary, we're reprinting this expansive interview with the film's screenwriter which first appeared in issue #49 of Star Wars Insider ten years ago.
Lawrence Kasdan: Screenwriter
By Scott Chernoff
When your career in the movies begins with the screenplays for The Empire Strikes Back, Raiders of the Lost Ark, and Return of the Jedi, what do you possibly do for an encore? I mean, after authoring that classic trio of films, couldn't you pretty much just retire and pat yourself on the back for a job well done?
Not if you're Lawrence Kasdan, who has gone on to become one of the most successful and acclaimed filmmakers in Hollywood. Indeed, his second film as both director and co-writer, The Big Chill (released in 1983, the same year as Jedi), turned out to be not only a major hit but every bit as classic and beloved as his Lucasfilm triumphs.
Kasdan's first film as director was the 1981 film noir Body Heat, which helped launch the careers of William Hurt and Kathleen Turner, and immediately announced Kasdan as a major filmmaking force. The Big Chill followed, capturing the imagination of the baby boomer generation it depicted, and again introducing a whole new pantheon of stars: Hurt, Glenn Close, Kevin Kline, Jeff Goldblum, Jobeth Williams, and Tom Berenger.
Throughout his career, Kasdan has deftly moved from genre to genre while maintaining his signature style -- an emphasis on character, wry humor, and quiet perseverance -- not to mention fine ensemble casts, often featuring Kline, Hurt, or Kevin Costner. His films as a writer-director include the winning Western Silverado; Grand Canyon, a sprawling, moving, and funny take on life in L.A.; the darkly and weirdly hilarious screwball comedy I Love You to Death; and The Accidental Tourist, an offbeat gem that won Geena Davis an Oscar for Best Supporting Actress. His most recent film was Mumford, a quirky comedy about a small town and its unconventional (and impostor) psychologist.
Kasdan also wrote the scripts for Continental Divide (one of John Belushi's last films) and the 1992 blockbuster The Bodyguard, which he also produced; he produced most of his directorial outings, as well as the underrated Martin Short comedy Cross My Heart in 1987, and the recent Drew Barrymore vehicle Home Fries. Kasdan also played Dr. Green opposite Jack Nicholson in As Good As It Gets, and you can see him in his own I Love You to Death and John Landis' great Into the Night.
Kasdan, 51, was born in Miami, grew up in Virginia, and raised his two sons in Los Angeles -- both are filmmakers, with older son Jake having directed the 1998 comedy Zero Effect and the pilot for the Star Wars-referencing TV show Freaks and Geeks. While he hasn't worked with his sons, the elder Kasdan did write Grand Canyon with his wife Meg and Silverado with his brother Mark.
Similarly, Kasdan's first three blockbusters were all collaborations: Empire's first draft was by Leigh Brackett from Lucas' story, and Jedi was co-written with Lucas, while Raiders stemmed from a story by Lucas and Phil Kaufman (who later directed The Right Stuff). And of course, all three were directed by others: Raiders by Steven Spielberg, Jedi by Richard Marquand, and Empire by Irvin Kershner. But Kasdan's stamp on those three films is indelible, from their tight, economical structure to the crisp, witty, and memorable dialogue.
In Empire, some of Kasdan's smartest writing is secondary to the action, as when Han, under siege, quickly barks of Threepio, "Shut him up or shut him down." Other times, his words are forcefully in your face: "Do. Or do not. There is no try."
Yup, Yoda's legendary teachings, Lando's legendary come-ons ("You truly belong here with us among the clouds"), and Vader's villainous demands ("Asteroids do not concern me, Admiral -- I want that ship, not excuses"), plus the sparks flying between Han and Leia ("I'd just as soon kiss a Wookiee" -- "I can arrange that. You could use a good kiss!") -- it all came from Lawrence Kasdan, a man whose contributions to the Star Wars universe cannot be underestimated.
How did you keep Empire from avoiding all those typical sequel pitfalls?
That was all George. His grand design for the first three movies was great, and the second act of any three act structure is always the best. The first act, Star Wars, was the most amazing movie, I think. But a lot of people like Empire best because it's the most interesting.
The fun thing about Empire is that in the second act you don't have to spend time setting things up -- it's already set up. You get to leave things hanging, because you know there's a third act coming. In fact, in traditional three act structure, you want everything to be falling apart at the end of the second act -- and that's exactly what's going on. Luke has lost his hand, and Han is frozen. Everything's gone to hell, and we're suddenly mystified by Darth and what his story is. That's much more fun than either the first or the third act in terms of writing.
The Empire Strikes Back was your first writing credit -- but it wasn't your first screenplay.
It was the first thing released that I had written -- that's the best way to describe it. I sold two screenplays, and then wrote Raiders for George. When I finished writing Raiders, Leigh Brackett had died, and George asked me to come in on Empire.
