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George 's vision for Sprocket Systems, as well as the entirety of Lucasfilm, had been to make it as much like film school as he could, where everybody does a little bit of everything and nobody's too worried about staying strictly to their job description. My team had to take turns cramming into a very small mixing board that was really made for one person. We could now stay local, with our whole editorial team in the next room. We finally had our own mix stage, and the responsibility of doing the final mix. We could do everything, including some pre-mixing of sound effects, but it wasn't until Jedi that we built a new facility over on the far side of San Rafael, in the complex next to Industrial Light & Magic. On Empire, we did all the post-production up north, at Sprocket Systems in San Anselmo. How did you set your team up for success?īen Burtt: We felt we were up to speed after Empire because, for me, the first Star Wars movie was a learning process. : Return of the Jedi was the first time that the entire sound process was controlled by your team at Sprockets, including sound mixing, foley, and dialogue cutting. "George had ideas, so we were all going out to record things." Ben Burtt capturing sound.

To mark the film’s 40th anniversary, caught up with these two friends, who reminisced about their groundbreaking work from four decades ago, as well as their favorite sounds and memories from Return of the Jedi. The crafting of the Ewok dialect, the Sarlacc’s squeal, and the Emperor’s Force lightning all presented unique challenges for the young sound team. Movie.īurtt (as sound designer) and Thom (as re-recording mixer) worked together on Star Wars: Return of the Jedi, which, at the time, was the most sonically ambitious Star Wars project ever, earning them both an Academy Award nomination. Thom began his journey at Skywalker Sound (then known as Sprocket Systems) on Star Wars: The Empire Strikes Back, and is still working at the company, with his most recent project as sound designer for this year’s megahit, The Super Mario Bros.

Burtt is, of course, known for his early work in shaping the Star Wars galaxy, from the hum of the lightsaber to the beeps of R2-D2.

speaks with two Skywalker Sound greats about their Oscar-nominated work on Episode VI.īen Burtt and Randy Thom are two legends in the world of sound.