Marion Ravenwood Paul Freeman Rene Belloq Ronald Lacey Major Toht John Rhys-Davies Sallah Denholm Elliott Marcus Brody. The swashbuckling archaeologist idea first came to George Lucas. He created the Indiana Jones action hero inspired by the Saturday afternoon serial adventure movies he used to watch in his youth. Lucas worked on the concept together with writer and director Philip Kaufman, who introduced the Ark of the Covenant as the story's engine.
In the end Lucas decided to put the project on the shelf and make Star Wars instead. It wasn't until Star Wars was released, and lying with his friend Steven Spielberg on a Hawaiian beach, that George Lucas mentioned his old idea. Spielberg always wanted to make a "James Bond like" film and saw this as the perfect opportunity. Articles Interviews Contests Cartoons Multimedia. Indiana Jones 5. Video Games. Indy's Gear. Indy's Influences. Raiders of the Lost Ark. Temple of Doom. Kasdan: Adventure films were absolutely at the heart of my love of movies.
Everything in the movie resonates from other movies. That's the feeling we were after. It doesn't take itself too seriously. Lucas: Raiders was turned down by practically every studio in town.
Second, I was asking for a very tough deal, it broke a lot of precedents that no-one wanted to break. Its definition of profits upset their apple cart.
The other part was I would develop it and turn it over to them, which gave them little control. They didn't like that. I had licensing.
I controlled sequel rights. Things that fed off what I did with Star Wars. Spielberg: On , I became a bit like Colonel Kurtz. After my big successes, the studio was too afraid to dispatch Martin Sheen to terminate my command with extreme prejudice.
Now I just wanted to make a movie where people would say he's a responsible director who came in under budget and under schedule. Jon Rhys-Davies Sallah : Steven had just had a relative critical failure with and the knives were out - the whizz-kid had clay feet, he was just a flash on the pan. Lucas: The studio was saying, "If you can get another director in there who we have more confidence in, then you can do it. We'd had a long talk about how we were going to make the movie.
I trusted Steven. He had directed television. He knew how to do what had to be done. Kasdan: Indy's a classic anti-hero. The idea always from the get-go was that he's fallen from grace as an archaeologist and he's become a grave robber. I thought, "Let's create a new icon. He wasn't replaced until pretty far down the line.
I think the film benefited tremendously when the casting changed. Indiana Jones has so many different levels and a lot of that comes from the personality and introspectiveness of Harrison Ford. Lucas: So then we were running short of time and Steven said, "There's always Harrison. And we had three pictures. Steven said to try anyway. I went to Harrison and he read the script and said, "Yeah, I'll do a three-picture deal.
I'd love to. Ford: We were all pretty sure that we would do three films starting out with Raiders. There really was no question. And also he has that dry humour. Indy needed to be real, with flaws - that's what endears him to the audience.
Harrison got that. Ford: We had a guy come to my house for a couple of lessons with the bullwhip in the beginning. It's a combination of relaxation while snapping the wrist at the proper time.
It's really all a matter of timing. Not an easy thing to learn. It's scary and the risk is there, because all Harrison has to do is come half an inch forward to hit my hand. But he never did. Ford: I've said this before, but he's just this guy with a bullwhip to keep the world at bay.
Kasdan: I didn't want it to be just about the leads. The movies I loved from the '30s and '40s were rich with supporting characters. So even though some of them may only be on for three lines, they have to be a good three lines.
Belloq always has good stuff to say. He'd already considered the Italian actor Giancarlo Gianni. When I went to meet him, he and George were lying on the floor looking at these new speakers with this new invention, the Walkman. The only scene I was allowed to see was the first meeting in the bar. Spielberg: Sallah was originally written as a Sam Jaffe or Gunga Din type - almost a small creature from the Star Wars cantina in an earthbound adventure film.
I had originally offered the part to Danny DeVito, who wanted to do it but couldn't fit it around his schedule for Taxi. Rhys-Davies: Mr. Spielberg had seen Shogun.
I went to see him and said, "Well, look, it says here that Sallah is a 5' 2" skinny Egyptian Bedouin. Are you proposing surgery? Rhys-Davies: It read like a comic-book story. There were pages and pages of visual description but not much dialogue. It was either gonna be the biggest disaster of all time, or a new fashion in filmmaking.
Ford: It was loose, that was Steven's way. We were young and free and confident and happy — stuff happened. Allen: I had a whole history for the character from the time she was born. What happened to her mother, how long she'd been in Nepal and her romance with Indy when she was 15 or I remember showing it to Steven who said, "That's an entirely different movie. Kasdan: Marion is named after my wife's grandmother. I took pride in the relationship part of it. It was all comedy character stuff, Cary Grant-Jean Arthur stuff.
There's about three times as much that didn't get used. They just simplified the whole thing. When I look at the movie now, I think that they were right.
Allen: Harrison's a private person. He had his own process, which didn't involve lengthy conversations about character. It took me a while to get the gist of his way of working. Ford: The action sequences were done piece by piece; none of it was very difficult. That's the whole point of being an actor, to try and make it look like you are taking risks.
Freeman: Steven suddenly panicked that he hadn't even heard me speak in a French accent. Spielberg: George became a casualty.
He came to La Rochelle for the first week of shooting, then shipped himself back home due to terrible sea-sickness. When he came to Tunisia and grabbed a second camera, he not only got bad sunburn but his face had swelled up to twice the normal size. I could have turned the camera around and shot a horror movie. Lucas: It was the film I had the least number of problems with.
In another sequence 56 live tarantulas cling to the clothes of Ford and Alfred Molina. From England, the production moved to Tunisia. He was my second unit. It was like being back at film school together. Like Star Wars, Raiders was conceived by Lucas as a series, so there will be parts two and three to look forward to.
Spielberg can certainly direct them if he wants, though he has also laid claim to the next but one Star Wars film. It is clearly a partnership that is here to stay: two Hollywood whiz-kids, now in their thirties, making films that appeal to children of all ages. The making of Raiders of the Lost Ark — archive, Raiders of the Lost Ark, Photograph: Ronald Grant Archive.
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