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![]() Lucas’s dream, together with his early mentor and collaborator Francis Ford Coppola, was of an independent artist-filmmaker, liberated from the dictates and follies of the market by a high-technology production environment. Once those sequences of printed-positive film and magnetic-tape sound had been cut together by an editor-such as Lucas’s collaborator and wife, Marcia Lucas-the film’s whole edifice had to be precisely reconstructed by white-gloved studio technicians, at enormous expense, from the corresponding strands of original negative. In the 1970s, assistants still rooted through laundry hampers of unrolled film to find sequences for editing. In production even more than in shooting, filmmaking was, and remains, an information problem. AP Photo Marcia and George Lucas in 1978-she carrying her Oscar for “best editor” for Star Wars.
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