Interestingly, when Lucas's third-draft script for SW 1977 refers to Imperial "officers," in many cases it actually seems to indicate the elite stormtroopers seen in Ralph McQuarrie's concept art (as opposed to the uniformed command staff, men like Motti or Piett). Thus, for instance, it is a high-ranking stormtrooper who informs Darth Vader of the failure to locate the Death Star plans. This point is less clear in the second draft, so it may be that Lucas took this idea from McQuarrie's concepts. McQuarrie did, however, draw sketches for Imperial officers wearing versions of the gray civilian tunics seen in the films. McQuarrie's version of the Imperial officer uniform features two silver-white stripes down the front of the gray tunic. Unfortunately, I've never seen a full-color version of the above drawing. The same color scheme recurs, though, in McQuarrie's painting of the Death Star elevator shafts. Three Imperial officers, dressed in gray, mill about in the background. Incidentally, this painting shows that Luke and Han have disguised themselves in the uniforms of stormtrooper officers. --- Ralph McQuarrie was evidently familiar with a wide range of pulp works from the early 20th century. His SW concept art frequently draws inspiration from Alex Raymond's Flash Gordon comics and Edgar Rice Burroughs' Barsoom novels. As well as other stuff that proved much less enduring--McQuarrie referred to Luke and Leia's Death Star chasm swing as the "Lash LaRue scene," a reference to a 1940s star of Hollywood Westerns who is today pretty much forgotten. So it's quite possible that, in fact, McQuarrie's drawing of Leia and the Imperial torture robot incorporates another obscure pulp-fiction reference. Before Johnny Weissmuller became the definitive cinematic Tarzan, a number of other actors essayed the role in earlier movies. Here, for instance, is "Big Jim" Pierce, who got the part by virtue of being Edgar Rice Burroughs' son-in-law. (Pierce went on to play Prince Thun of the Lion Men in the 1936 Flash Gordon serial.) Nearly all of the film Tarzans before Weissmuller wore a version of the costume seen here: an animal-skin loincloth with a high strap over one shoulder. Until World War II, this one-shouldered loincloth competed with the strapless variety as the definitive Tarzan outfit in the public mind. The most relevant instance of this is seen with the classic 1933 film King Kong. Early concept art for Kong featured a Tarzan-type jungle woman who wore a loincloth with one shoulder strap. Eventually, once the script had been finalized, she morphed into Fay Wray's character. But the film's concept artists continued to use the same general idea for her costume. Thus was born the infamous scene where Kong tears at Ann Darrow's dress--which, in the original concepts, went farther than on screen, leaving Ann with one breast bared. McQuarrie's drawing of Leia in her cell uses the exact same idea: a low-cut dress, torn so as to leave one breast exposed. Evidently he suggested this as a variant on the "Tarzan-style clothing damage" idea, one which additionally referenced the making of King Kong. (Interest in the original Kong resurged in the 1970s--for instance, The Making of King Kong was published in 1975.) In fact, John Mollo also drew a sketch of a dress in much the same vein as what was proposed by McQuarrie. Remember this drawing? A pencil sketch at the top of the page shows a low-cut dress with metal breastplates affixed. Given the racy implications of Mollo's other drawings for Leia's costume, it's likely that he meant this dress to end up artfully torn, in exactly the same manner suggested in McQuarrie's sketch of Leia and the torture robot. As for what's under Tarzan's loincloth? Well, Johnny Weissmuller's costume featured a cloth panel between his legs, thus preserving his modesty. But Maureen O'Sullivan in Tarzan and His Mate evidently had the same problem that Carrie Fisher later complained of on ROTJ--except during O'Sullivan's swimming scenes, when she wore a special "stunt loincloth" to prevent anything naughty from being shown. If Lucas in late 1975 still intended to carry over the darker implications of Leia's capture and torture from the 1974 rough draft, it would have made more sense for Leia's undergarment to follow the lead of O'Sullivan's attire rather than Weissmuller's. (Otherwise it'd be implausible that she retained it at all.) But in any case, the question would have to be settled on screen--the third draft calls for Leia to be suspended upside-down in her cell when Luke and Han arrive to rescue her. Even on the final film, by which time the SW galaxy had been resolutely scrubbed of anything so adult as nudity, Lucas infamously instructed Carrie Fisher about proper "space underwear," which culminated in the judicious use of gaffer tape. (Meanwhile, Nilo Rodis-Jamero's concept designs for Slave Leia on ROTJ incorporated a Weissmuller-style modesty panel, a feature which, Fisher pointedly noted, was not present on the final outfit.) --- From characters who wear scanty attire, to ones who wear nothing at all: let's talk about Chewbacca. Here are some really early McQuarrie concepts for Chewbacca's face, predating his finalized paintings for the second draft. In the sketch at right the Chewbacca we know and love is all but unrecognizable. Another McQuarrie drawing of Chewbacca shows where he reached the bushbaby/lemur design seen in the second-draft production paintings. The second-draft Chewbacca in all his glory, with his bushbaby/lemur face. At this point, Chewbacca still wore a flak jacket and ragged shorts. Heck, he's even got shoes here. Lucas's directions to McQuarrie for Chewbacca's final design were infamously "inspired" by John Schoenherr's illustrations for a George RR Martin short story in the July 1975 issue of Analog magazine. Apparently, even after revising Chewbacca's face, McQuarrie still considered retaining the flak jacket and shorts (though evidently not the boots) from the previous design.