Between 1999 and 2009 Lightsabre.co.uk brought news, fanfic, podcasts and much, much more to the masses. Our thirtieth guest was R2-D2’s droid wrangler, became a Lucasfilm Archivist, and had the kind of career every fan could only dream of – Don Bies.
Lightsabre – Don, welcome to Lightsabre.
DB – Thanks – I’m honored that you would have me take part.
Lightsabre – As our introduction says you’ve certainly had a wide and varied number of jobs and worked on numerous projects over the years, many of which are for Lucasfilm. Of those projects, which one held the most personal significance for you?
DB – To be honest, different projects have had significance for various reasons. I suppose my first R2 operating gig was special, because…well, it was my first. I really enjoyed working on Episode 2, since that was the first time I was responsible for all the R2 and 3P0 shots. I also enjoyed working on the first Pirates of the Caribbean, because of my responsibilities in creating several of the pirate ships – not to mention it was lot of fun building something so old school like a pirate ship after being immersed in the Star Wars and Matrix environments. And more recently, I was really proud and honored to have been responsible for building the Vader mask that encases Anakin in Episode 3.
Lightsabre – Tell us something of your career. How did you begin in entertainment and what led you to where you are today?
DB – I have been a fan of films since I was six years old and saw Boris Karloff in the 1931 Frankenstein. I made monsters as a kid, then got involved in theatre, since there wasn’t much of a film community in Chicago (where I grew up) at that time. I had a friend who moved to California to work as a special effects make-up artist, and he told me that they needed help at Chris Walas, Inc. on Cronenberg’s The Fly. I sent in my portfolio and Chris hired me to build mechanical systems for the various puppets seen in the film. While there, I met Jon Berg, who (among many other things) was responsible for the AT-ATs in Empire. Jon helped me and guided me over the years, and through the relatively small film community of Northern California, I met some Lucasfilm folks who needed an R2 operator for a series of Panasonic commercials.
I got the job, and eventually they needed help in the archives. I was hired for two weeks to help clean out the place, and they kept me on for about 8 years. I worked at the archives in between film jobs. I learned to make models because I kept breaking the ones in the archives. Eventually I moved full time to the ILM model shop, and I was able to bounce back and forth between there and Lucasfilm, doing the occasional R2 gig.
Lightsabre – What has it been like to be a part of the Star Wars phenomenon?
DB – A bit overwhelming. I was a fan of the films when they first came out, and never dreamed I’d be able to play a part in creating them. I remember when I was on location in Tunisia, and we were driving across the country from the Mos Espa set to Matmata. As Anthony Daniels and my fellow R2 technician Trevor Tighe rested in the SUV, I looked out across the desert and thought that this was quite an exciting adventure for a little kid from Chicago. Of course, while looking at the vast expanse of desert, it also occurred to me that our car could go off the road here and we’d never be found…
Lightsabre – We often hear funny stories from the sets of the movies. You have been a part of so many hugely successful ones you must have a wealth of stories to tell?
DB – I’m not sure I can tell the really good ones in public…To be honest, nothing comes to mind-except those I really don’t want to say in print! I’ll think about it and get back to you…
Lightsabre – Tell us something of your work on Galaxy Quest, one of the best and funniest movies of recent years.
DB – I had quite a small hand in it, actually. I supervised the construction of the docking bay set. But I do remember we saw scenes from the film – unfinished, no music of sound effects and thought it was going to be a real dog. However, we were all pleasantly surprised, and really enjoyed the film.
Lightsabre – Every Star Wars fan knows you are R2-D2’s official droid wrangler, taking care of the trilogies true superstar and making sure he is ready for work. How special has that experience been?
DB – Like Luke, that little droid and I have been through a lot together. Working with R2 has allowed me to travel to places I wouldn’t have dreamed of going. I have met the most amazing people, including celebrities, non-celebrities and fans, and have been allowed to do some really cool things. It will always be one of my fondest memories.
Lightsabre – Your work is largely centred on model making. As seen on films like Pirates of the Caribbean and Peter Pan, you are converting CGI 3-D models into actual miniatures. As an artist who uses his hands so much, how strange is this change. A layman would think that this process would be the other way around?
DB – In recent years, it is quite common. A recent trend in filmmaking is pre-visualization, where a simple (and sometimes complex) computer generated animation is created for everyone involved to see and understand how a sequence is going to look. Since the geometry for the models needs to exist in that format, it helps us save time by using that model as a starting point. It also is something that the director or art director has already approved. Occasionally, we do reverse the process, and create the model digitally ourselves; we can then place a camera in the virtual world and have the powers that be buy off on the shot. This prevents us from having to build more of the model then necessary.
Lightsabre – You worked for eight years as a Lucasfilm archivist, sorting the model and prop collection, restoring certain items and keeping everything in order. During those years, did you stumble across any items which were thought to be lost, or find something you couldn’t believe still existed?
DB – It was unfortunate to discover how few things we had from the original film. But the most exciting find for me was Vader’s mask used to reveal Anakin in Return of the Jedi. I found it at the bottom of a crate with some rubbish on top of it. Fortunately, it was not damaged and has been one of my favorite pieces – which is why it was so special to be able to recreate it for Episode 3.
Lightsabre – Now that the Star Wars TV series has been confirmed, will we be seeing the name of Don Bies during the end credits as they roll by every week?
DB – “The confidential nature of the project prohibits me from discussing my involvement…” Sounds good, huh? However, it’s not true. The TV series is still some time in the future. Nothing has been discussed, nor am I sure it will be.
Lightsabre – What do you foresee for yourself in the future?
DB – It has been an exciting time working at ILM, but the challenge of the jobs has worn off. When I got into the film business, I intended to be making films instead of working on other people’s films, so I’m trying to get my own productions off the ground. I was responsible for Beneath the Dome, as well as two local, less well known short films. So until I get more projects going…if anybody out there is looking to hire a director, give me a call.
Lightsabre – It’s been a great interview, and thanks for being our guest. Just one final question. Artoo, Flubber and Slimer from Ghostbusters are locked in a seemingly escape-proof room. Flubber is made of…well, Flubber. Slimer has his ectoplasm and Artoo is the original Swiss Army knife. Which one manages to escape?
DB – Oh come on, Mark. You know…who else? Artoo, of course. And just because he’s plucky.
This interview was originally posted on lightsabre.co.uk on 25th December 2005.
