Oscar-Winning ‘Star Wars’ Editor Marcia Lucas Dies at 80

Marcia Lucas, wife of director George Lucas, right, carries her Oscar statuette as they arrive at a post Academy Awards party at the Beverly Hilton Hotel in Los Angeles, April 4, 1978. (AP)
Marcia Lucas, wife of director George Lucas, right, carries her Oscar statuette as they arrive at a post Academy Awards party at the Beverly Hilton Hotel in Los Angeles, April 4, 1978. (AP)
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Oscar-Winning ‘Star Wars’ Editor Marcia Lucas Dies at 80

Marcia Lucas, wife of director George Lucas, right, carries her Oscar statuette as they arrive at a post Academy Awards party at the Beverly Hilton Hotel in Los Angeles, April 4, 1978. (AP)
Marcia Lucas, wife of director George Lucas, right, carries her Oscar statuette as they arrive at a post Academy Awards party at the Beverly Hilton Hotel in Los Angeles, April 4, 1978. (AP)

Marcia Lucas, who won an Oscar as editor of the original 1977 “Star Wars" and was part of a group of women whose editing was essential to film's New Hollywood era, has died, a lawyer for her family said Friday. She was 80.

Lucas, who was married to “Star Wars” creator George Lucas from 1969 to 1983, died Wednesday from metastatic cancer, attorney Deidre Von Rock said in an email to The Associated Press. She died in Rancho Mirage, California, surrounded by loved ones, Von Rock said.

Marcia Lucas was the editor on 1983's “Return of the Jedi” and the pre-“Star Wars” George Lucas-directed films “THX 1138” and “American Graffiti.”

She was also part of the editing team for director Martin Scorsese's 1970s films “Taxi Driver,” “Alice Doesn't Live Here Anymore” and “New York, New York.”

Editor was a rare senior creative position where a woman could find a foothold in Hollywood. Marcia Lucas became one of several women whose work in the editing chair made sense of the work of the overwhelmingly male directors of the New Hollywood of the late 1960s through the early 1980s, including Dede Allen, editor of “Bonnie and Clyde” and “Dog Day Afternoon”; Verna Fields, editor of “Paper Moon” and “Jaws"; and Thelma Schoonmaker, editor of most of Scorsese's films starting with 1980's “Raging Bull.”

Lucas was often called the unsung hero of “Star Wars,” the original film that after sequels, prequels and spinoffs has come to be known by its subtitle, “A New Hope.”

She convinced her then-husband that he should have Obi-Wan Kenobi, played by Alec Guinness, die in his lightsaber battle with Darth Vader and become a spirit guide to Mark Hamill's Luke Skywalker.

And she had to make sense of raw footage that could have been a mess in the wrong hands, including the climactic rebel attack on the Death Star.

“It was extremely complex and we had 40,000 feet of dialogue footage of pilots saying this and that. And she had to cull through all that, and put in all the fighting as well,” George Lucas told Rolling Stone in an interview a few months after the film came out. “Nobody really has ever tried to interweave an actual plot story into a dogfight, and we were trying to do that."

Lucas was born Marcia Griffin in Modesto, California shortly after the end of World War II. She moved to Los Angeles with her mother after her parents divorced when she was a small child.

She began working as a film librarian and moved into working as an editor on commercials, trailers and promotional films. She was an assistant editor on the documentary “Journey to the Pacific” for Fields, who also hired George Lucas, then a film student at the University of Southern California.

The couple became engaged soon after. Their marriage would essentially end in 1982, but they kept their divorce under wraps until after the release of “Return of the Jedi” in 1983. Marcia Lucas was then married to Tom Rodrigues, a production manager at the Skywalker Ranch production center, from 1983 to 1993.

She is survived by her daughters, Amanda Lucas and Amy Soper, and grandchildren Felix Hallikainen, Aeliana Hallikainen and Knox Soper.

"Her influence on film is indelible, but those who knew her best will remember the way she made life feel more vivid, more beautiful, more fun, and more full of love,” a family statement said. “Her work was known for its emotional intelligence, rhythm, and humanity — a rare ability to find the truth of a scene and bring heart, momentum, and clarity to the screen.”



Actor Sam Neill Died of Pneumonia, Says Agent

(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)
(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)
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Actor Sam Neill Died of Pneumonia, Says Agent

(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)
(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)

"Jurassic Park" star Sam Neill died of pneumonia, his agent said Thursday, in a message aimed at providing clarity to fans.

Neill died in Australia on Monday at the age of 78, his family said in a statement.

He was cancer-free at the time, his family added without elaborating on the cause of death.

"I spoke with his family and wish to clarify some details for his fans," long-time agent Philip Grenz said in a statement to public broadcaster Radio New Zealand.

"Sam passed away from pneumonia. Prior to becoming sick, Sam had valiantly fought and beaten lymphoma through a new treatment called CAR-T therapy."

The actor's family is to hold a private ceremony in New Zealand, AFP quoted the agent as saying.

"As Sam was an intensely private man who loathed a fuss, his family will honor him with a private family memorial at his farm in New Zealand at a still-undetermined later date."

Grenz said Neill had filmed four projects in the past year, which would all be released in the "coming months", without giving further details.

Neill revealed in a 2023 memoir he was "possibly dying" with stage-three non-Hodgkin lymphoma.

But he declared himself cancer-free earlier this year, thanks to a genetic therapy that modified his immune system.

Born in Northern Ireland in 1947, he moved to the rugged South Island of New Zealand as a child.

He was christened Nigel John Dermot but decided his first name was too "effete" for New Zealand and switched it to Sam.

Neill started acting in New Zealand films in the early 1970s before moving into larger roles in Australia.

His big breakthrough came in 1993 when he played Dr Alan Grant in the blockbuster "Jurassic Park".

When he was not acting, Neill also ran vineyards in the picturesque Central Otago region of New Zealand's South Island.

Tributes have poured in from friends, colleagues, neighbors in Central Otago, and some of Hollywood's biggest names, including director Steven Spielberg and fellow "Jurassic Park" actors Laura Dern and Jeff Goldblum.


Movie Review: In Christopher Nolan’s ‘The Odyssey,’ an Ancient Epic Is Reborn

 US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)
US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)
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Movie Review: In Christopher Nolan’s ‘The Odyssey,’ an Ancient Epic Is Reborn

 US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)
US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)

Getting home, and turning back the clock, has long been at the root of Christopher Nolan’s films. The astronauts of “Interstellar” painstakingly lose 23 years in space travel, almost the same length of time Odysseus is away from home in “The Odyssey”: a decade fighting the Trojan War, a decade trying to return to Ithaca.

So, to a remarkable degree, Nolan’s “The Odyssey” — faithful as it is to Homer’s epic poem — feels, down to its nonlinear DNA, like a Nolan movie. The authorship of the epic poem, dated to the 7th or 8th century BC, is complex. But no one could question the maker of this “Odyssey,” an earthy, existential epic that ravishingly melds the storytelling of antiquity with contemporary IMAX-sized bravado.

As a story about a man whose cunning offends the gods, “The Odyssey” feels very much like a companion piece, if not a downright sequel, to “Oppenheimer.” Odysseus (Matt Damon, in the role of his life) is increasingly racked with guilt for the violence and death he’s wrought after his ingenuity led to the sacking of Troy.

The arrival of any new Nolan spectacle inevitably leads to its own kind of assault, and avalanches of “masterpiece” proclamations. (I’m not innocent.) But while “The Odyssey,” Nolan’s first film shot entirely with IMAX cameras, doesn’t skimp on grandiosity, it works surprisingly well as a simpler, human-sized tale.

The journey — you may have heard, it’s about the journey — is sometimes a little clunky, and the sheer Nolan-ness of the production, not to mention the historic nature of the tale, inevitably saps it of some freshness. You could make a credible case that Nolan has already made a movie about a guy trying to reach his family through strata of mind-warping illusion, and it’s called “Inception.” Such is the trouble with urtexts.

But “The Odyssey” is rarely not transfixing, and it’s a ripping adventure story, besides. At the least, it’s the definitive big-screen adaptation of one of literature's oldest tales — a not-too-shabby accomplishment for a filmmaker of restless ambition.

It’s not until Book 5 that Odysseus enters Homer’s poem, and Nolan, who also wrote the screenplay, likewise begins in Ithaca. There, Odysseus’ home is overrun by feasting suitors in pursuit of his wife, Penelope (Anne Hathaway). Foremost among them is Antinous, who’s played with sleazy perfection by Robert Pattinson. For an actor often (pleasingly) at odds with the movies around him, Pattinson has never slid more seamlessly into a part.

Telemachus (Tom Holland, also well-cast), the youthful son of Penelope and Odysseus, resolves to go in search of his father. Meanwhile, we catch up with Odysseus, weathered and white-bearded, following the fall of Troy. His forced conscription, by Agamemnon, is shown in flashbacks. Agamemnon is depicted with an imposing Darth Vader-like presence and played by Benny Safdie, but the real star is his hulking, mohawked helmet.

Such vivid details abound in Nolan’s richly textured film. The simple rocking of Odysseus’ longship, off the Mediterranean coast, is glorious. Some of Nolan’s and cinematographer Hoyte van Hoytema’s most impressive work has come when they’re faced with the elements (as in “Dunkirk”). And “The Odyssey” is flooded with stormy seas and enchanted isles. If anything, the movie could have gone further; I was promised rosy-fingered dawns.

The first line of Homer’s poem, as translated by Emily Wilson (the version Nolan leaned on), refers to Odysseus as “a complicated man.” James Joyce, whose “Ulysses” was based on “The Odyssey,” once noted that while Hamlet is merely a son, Ulysses, or Odysseus, is a father, a husband, a lover and a warrior. In short, he’s an Everyman, albeit an especially smart one. And Damon, the most amiable of Everymen, proves especially attuned to the multifaceted nature of the archetypal hero.

We meet him first as a soldier, leading a small group of ships away from Agamemnon’s fleet, setting a southerly course with his second-in-command Eurylochus (an excellent Himesh Patel). Their route takes them on a series of episodic quests: a cave encounter with Polyphemus, the Cyclops; a pine forest attack by the man-eating giants, the Laestrygonians; a meal with the witch Circe (Samantha Morton); and Odysseus’ seven-year interlude with the sea nymph Calypso (a beguilingly sincere Charlize Theron).

You could argue that the movie can feel like a series of sketched-together set pieces, but what set pieces! That includes the tale of the Trojan horse, a fleeting mention in the poem but here a centerpiece. You can tell that Nolan, who nearly made “Troy” more than two decades ago, has had the sequence — beginning with the Trojan horse sunk in the sand and leading to the burning of Troy — on his mind for years.

Each stop on Odysseus' journey gives Nolan a mythic playground to explore imagery that verges on the stuff of horror. I was most intoxicated by “The Odyssey” in its most surreal moments: the sight of a giant hand emerging out of the shadows, the meeting with the “shades” of Odysseus’ dead army, risen from the black soil of Hades.

“A time of apparent magic” is how the movie is introduced. Nolan has wisely opted to keep the gods sidelined. Their powers are real, but with the exception of Zendaya’s Athena, who appears like a confidant to Odysseus, the gods, themselves, remain off-screen.

That choice draws Nolan’s “Odyssey,” and its themes of sacrifice, fidelity and honor, closer to reality. And it makes Nolan’s decision to cast his film widely all the more essential. This is a story, passed down for centuries by singers and storytellers, that belongs to all of humankind.

Casting the movie with a wide spectrum of actors, including Lupita Nyong’o as Helen of Troy, is not only fair game for a purely mythic tale, but it gives the movie a present-day vitality. Seeing actors like Elliot Page (indelible as a fallen soldier), John Leguizamo (as the loyal servant Eumaeus) and Damon in this ancient context is a very big reason to see “The Odyssey,” and why Homer’s told and retold tale is worth revisiting, at all. If today has no role, what's the point? They didn't have cameras in 700 B.C., either.

Nolan’s “Odyssey” is nearly three hours long but never slow going. And it's the friction between past and present that propels the movie as much as Odysseus' wayward path. The ending of the poem, a tricky thing since it features mass murder, is given a more palatable action-movie melee. But the essence of “The Odyssey” is here, and Odysseus' quest to live down his mistakes and uphold his convictions feels vibrant again. Nolan, you might say, is at home.


Will Ferrell Reunites with Longtime Collaborators for Netflix Golf Comedy ‘The Hawk’

US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)
US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)
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Will Ferrell Reunites with Longtime Collaborators for Netflix Golf Comedy ‘The Hawk’

US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)
US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)

For ‌actor Will Ferrell, assembling a cast filled with familiar faces for the Netflix golf comedy series, "The Hawk," added a special chemistry that elevated the show.

The "Step Brothers" actor recalled many shared laughs that went beyond the humor of the series.

"Some of the more fun parts were just sitting around the monitor, and Molly and Chris Parnell and I reading 'SNL' ('Saturday Night Live') stories," Ferrell said.

The "Anchorman" actor added that there was a unique energy and rapport on set compared with other projects because ‌the series was created ‌alongside longtime friends.

"The Hawk" was created ‌by ⁠Ferrell, who also ⁠stars as the lead character, Lonnie Hawkins, alongside his real-life close friends: former "SNL" writer Harper Steele and "The Other Guys" director Chris Henchy.

The cast also includes Molly Shannon as Lonnie's estranged wife, Stacy; Jimmy Tatro as Lonnie's resentful son and fellow golfer, Lance; and Fortune Feimster as Sam, Lonnie's caddie.

The show follows Lonnie, ⁠a golfer whose career peaked in 2004, as ‌he attempts to recapture his ‌former success later in life. Despite tensions within his family, he ‌is determined to make a comeback.

Shannon, who has collaborated with ‌Ferrell for decades, dating back to their time as "SNL" cast members in 1995, said it was difficult to scream at him while playing Stacy.

"It was hard because I'm so close to Will," she ‌said.

Meanwhile, Tatro said he was amused while portraying a character who harbors resentment toward his ⁠father, whom ⁠Ferrell portrays.

"It was funny to hate someone so much in a show that I admire so much in real life," he said.

Ferrell, who has starred in many sports comedies, said he was drawn to creating a series centered on people whose lives revolve around golf.

"I've always been fascinated with the world of golf," he said.

"It's like such a tortured existence for these men and women who just stand over a ball six hours a day taking shots and have to be perfect. And I thought, 'Oh, that must drive you crazy,'" he added.

"The Hawk" begins streaming on Netflix on Thursday.