Indiana Jones and the Last Crusade Steven Spielberg

Development

George Lucas and Steven Spielberg had intended to make a trilogy of Indiana Jones films since Lucas had first pitched Raiders of the Lost Ark to Spielberg in 1977,[15] though they signed for five films with Paramount Pictures by 1979.[16] After the mixed critical and public reaction to Indiana Jones and the Temple of Doom, Spielberg decided to complete the trilogy to fulfill his promise to Lucas, with the intent to invoke the film with the spirit and tone of Raiders of the Lost Ark.[17] Temple of Doom writers Willard Huyck and Gloria Katz chose not to return due to both having other commitments and feeling satisfied with their work in the second film.[18] Throughout the film's development and pre-production, Spielberg admitted he was "consciously regressing" in making the film.[8] Due to his commitment to the film, the director had to drop out of directing Big and Rain Man.[15]

Lucas initially suggested making the film "a haunted mansion movie", for which Romancing the Stone writer Diane Thomas wrote a script. Spielberg rejected the idea because of the similarity to Poltergeist, which he had co-written and produced.[8] Lucas first introduced the Holy Grail in an idea for the film's prologue, which was to be set in Scotland. He intended the Grail to have a pagan basis, with the rest of the film revolving around a separate Christian artifact in Africa. Spielberg did not care for the Grail idea, which he found too esoteric,[4] even after Lucas suggested giving it healing powers and the ability to grant immortality (much like the fictional magical power given to the Ark in the first film of the trilogy). In September 1984, Lucas completed an eight-page treatment titled Indiana Jones and the Monkey King, which he soon followed with an 11-page outline. The story saw Indiana battling a ghost in Scotland before finding the Fountain of Youth in Africa.[6]

Chris Columbus—who had written the Spielberg-produced Gremlins, The Goonies, and Young Sherlock Holmes—was hired to write the script. His first draft, dated May 3, 1985, changed the main plot device to a Garden of Immortal Peaches. It begins in 1937, with Indiana battling the murderous ghost of Baron Seamus Seagrove III in Scotland. Indiana travels to Mozambique to aid Dr. Clare Clarke (a Katharine Hepburn-type according to Lucas), who has found a 200-year-old pygmy. The pygmy is kidnapped by the Nazis during a boat chase, and Indiana, Clare and Scraggy Brier—an old friend of Indiana—travel up the Zambezi river to rescue him. Indiana is killed in the climactic battle but is resurrected by the Monkey King. Other characters include a cannibalistic African tribe; Nazi Sergeant Gutterbuhg, who has a mechanical arm; Betsy, a stowaway student who is suicidally in love with Indiana; and a pirate leader named Kezure (described as a Toshiro Mifune-type), who dies eating a peach because he is not pure of heart.[6]

Columbus's second draft, dated August 6, 1985, removed Betsy and featured Dash—an expatriate bar owner for whom the Nazis work—and the Monkey King as villains. The Monkey King forces Indiana and Dash to play chess with real people and disintegrates each person who is captured. Indiana subsequently battles the undead, destroys the Monkey King's rod, and marries Clare.[6] Location scouting commenced in Africa but Spielberg and Lucas abandoned Monkey King because of its negative depiction of African natives,[19] and because the script was too unrealistic.[6] Spielberg acknowledged that it made him "... feel very old, too old to direct it."[4] Columbus's script was leaked onto the Internet in 1997, and many believed it was an early draft for the fourth film because it was mistakenly dated to 1995.[20]

Dissatisfied, Spielberg suggested introducing Indiana's father, Henry Jones, Sr. Lucas was dubious, believing the Grail should be the story's focus, but Spielberg convinced him that the father–son relationship would serve as a great metaphor in Indiana's search for the artifact.[8] Spielberg hired Menno Meyjes, who had worked on Spielberg's The Color Purple and Empire of the Sun, to begin a new script on January 1, 1986. Meyjes completed his script ten months later. It depicted Indiana searching for his father in Montségur, where he meets a nun named Chantal. Indiana travels to Venice, takes the Orient Express to Istanbul, and continues by train to Petra, where he meets Sallah and reunites with his father. Together they find the grail. At the climax, a Nazi villain touches the Grail and explodes; when Henry touches it, he ascends a stairway to Heaven. Chantal chooses to stay on Earth because of her love for Indiana. In a revised draft dated two months later, Indiana finds his father in Krak des Chevaliers, the Nazi leader is a woman named Greta von Grimm, and Indiana battles a demon at the Grail site, which he defeats with a dagger inscribed with "God is King". The prologue in both drafts has Indiana in Mexico battling for possession of Montezuma's death mask with a man who owns gorillas as pets.[6]

Spielberg suggested Innerspace writer Jeffrey Boam perform the next rewrite. Boam spent two weeks reworking the story with Lucas, which yielded a treatment that is largely similar to the final film.[6] Boam told Lucas that Indiana should find his father in the middle of the story. "Given the fact that it's the third film in the series, you couldn't just end with them obtaining the object. That's how the first two films ended," he said, "So I thought, let them lose the Grail, and let the father–son relationship be the main point. It's an archaeological search for Indy's own identity and coming to accept his father is more what it's about [than the quest for the Grail]."[8] Boam said he felt there was not enough character development in the previous films.[4] In Boam's first draft, dated September 1987, the film is set in 1939. The prologue has adult Indiana retrieving an Aztec relic for a museum curator in Mexico and features the circus train. Henry and Elsa (who is described as having dark hair) were searching for the Grail on behalf of the Chandler Foundation, before Henry went missing. The character of Kazim is here named Kemal, and is an agent of the Republic of Hatay, which seeks the grail for its own. Kemal shoots Henry and dies drinking from the wrong chalice. The Grail Knight battles Indiana on horseback, while Vogel is crushed by a boulder while attempting to steal the Grail.[6]

Boam's February 23, 1988, rewrite used many of Connery's comic suggestions. It included the prologue that was eventually filmed; because of the mixed response to Empire of the Sun, which was about a young boy, Lucas had to convince Spielberg to show Indiana as a boy.[4] Spielberg—who was later awarded the Distinguished Eagle Scout Award—had the idea of making Indiana a Boy Scout.[15] The 1912 prologue as seen in the film refers to events in the lives of Indiana's creators. When Indiana cracks the bullwhip to defend himself against a lion, he accidentally lashes and scars his chin. Ford gained this scar in a car accident as a young man.[5] Indiana taking his nickname from his pet Alaskan Malamute is a reference to the character being named after Lucas's dog.[21] The train carriage Indiana enters is named "Doctor Fantasy's Magic Caboose", which was the name producer Frank Marshall used when performing magic tricks. Spielberg suggested the idea, Marshall came up with the false-bottomed box through which Indiana escapes,[22] and production designer Elliott Scott suggested the trick be done in a single, uninterrupted shot.[23] Spielberg intended the shot of Henry with his umbrella—after he causes the bird strike on the German plane—to evoke Ryan's Daughter.[21] Indiana's mother, named Margaret in this version, dismisses Indiana when he returns home with the Cross of Coronado, while his father is on a long-distance call. Walter Chandler of the Chandler Foundation features, but is not the main villain; he plunges to his death in the tank. Elsa introduces Indiana and Brody to a large Venetian family that knows Henry. Leni Riefenstahl appears at the Nazi rally in Berlin. Vogel is beheaded by the traps guarding the Grail. Kemal tries to blow up the Grail Temple during a comic fight in which gunpowder is repeatedly lit and extinguished. Elsa shoots Henry, then dies drinking from the wrong Grail, and Indiana rescues his father from falling into the chasm while grasping for the Grail. Boam's revision of March 1 showed Henry causing the seagulls to strike the plane, and has Henry saving Indiana at the end.[6][24]

During an undated "Amblin" revision and a rewrite by Tom Stoppard (under the pen name Barry Watson) dated May 8, 1988,[6] further changes were made. Stoppard polished most of the dialogue,[9][25] and created the "Panama Hat" character to link the prologue's segments featuring the young and adult Indianas. The Venetian family is cut. Kemal is renamed Kazim and now wants to protect the grail rather than find it. Chandler is renamed Donovan. The scene of Brody being captured is added. Vogel now dies in the tank, while Donovan shoots Henry and then drinks from the false grail, and Elsa falls into the chasm. The Grail trials are expanded to include the stone-stepping and leap of faith.[6][26]

Filming

Principal photography began on May 16, 1988, in the Tabernas Desert in Spain's Almería province. Spielberg originally had planned the chase to be a short sequence shot over two days, but he drew up storyboards to make the scene an action-packed centerpiece.[5] Thinking he would not surpass the truck chase from Raiders of the Lost Ark (because the truck was much faster than the tank), he felt this sequence should be more story-based and needed to show Indiana and Henry helping each other. He later said he had more fun storyboarding the sequence than filming it.[23] The second unit had begun filming two weeks before.[13] After approximately ten days, the production moved to the Escuela de Arte de Almería, to film the scenes set in the Sultan of Hatay's palace. Cabo de Gata-Níjar Natural Park was used for the road, tunnel and beach sequence (at Playa de Mónsul) in which birds strike the plane. The shoot's Spanish portion wrapped on June 2, 1988, in Guadix, Granada, with filming of Brody's capture at Alexandretta train station.[13] The filmmakers built a mosque near the station for atmosphere, rather than adding it as a visual effect.[23]

The exteriors of "Brunwald Castle" were filmed at Bürresheim Castle in West Germany. In the movie the image of the castle has been flipped and the building was expanded with a Matte painting depicting a copy of the right facade to the left of the main tower.

Filming for the castle interiors took place in the United Kingdom from June 5 to 10, 1988, at Elstree Studios in Borehamwood, England. On June 16, Lawrence Hall, London, was used as the interior of Berlin Tempelhof Airport. Filming returned to Elstree the next day to capture the motorcycle escape, continuing at the studio for interior scenes until July 18. One day was spent at North Weald Airfield on June 29 to film Indiana leaving for Venice.[13] Ford and Connery acted much of the Zeppelin table conversation without trousers on because of the overheated set.[21] Spielberg, Marshall and Kennedy interrupted the shoot to make a plea to the Parliament of the United Kingdom to support the economically "depressed" British studios. July 20–22 was spent filming the temple interiors. The temple set, which took six weeks to build, was supported on 80 feet (24 m) of hydraulics and ten gimbals for use during the earthquake scene. Resetting between takes took twenty minutes while the hydraulics were put to their starting positions and the cracks filled with plaster. The shot of the Grail falling to the temple floor—causing the first crack to appear—was attempted on the full-size set, but proved too difficult. Instead, crews built a separate floor section that incorporated a pre-scored crack sealed with plaster. It took several takes to throw the Grail from 6 feet (1.8 m) onto the right part of the crack.[23] July 25–26 was spent on night shoots at Stowe School, Stowe, Buckinghamshire, for the Nazi rally.[13]

Filming resumed two days later at Elstree, where Spielberg swiftly filmed the library, Portuguese freighter, and catacombs sequences.[13] The steamship fight in the prologue's 1938 portion was filmed in three days on a sixty-by-forty-feet (eighteen-by-twelve-meter) deck built on gimbals at Elstree. A dozen dump tanks – each holding three hundred imperial gallons (360 U.S. gallons; 3000 lb.; 1363 liters) of water – were used in the scene.[23] Henry's house was filmed at Mill Hill, London. Indiana and Kazim's fight in Venice in front of a ship's propeller was filmed in a water tank at Elstree. Spielberg used a long focus lens to make it appear the actors were closer to the propeller than they really were.[13] Two days later, on August 4, another portion of the boat chase using Hacker Craft sport boats, was filmed at Tilbury Docks in Essex.[13] The shot of the boats passing between two ships was achieved by first cabling the ships off so they would be safe. The ships were moved together while the boats passed between, close enough that one of the boats scraped the sides of the ships. An empty speedboat containing dummies was launched from a floating platform between the ships amid fire and smoke that helped obscure the platform. The stunt was performed twice because the boat landed too short of the camera in the first attempt.[23] The following day, filming in England wrapped at the Royal Masonic School in Rickmansworth, which doubled for Indiana's college (as it had in Raiders of the Lost Ark).[13]

Shooting in Venice took place on August 8.[13] For scenes such as Indiana and Brody greeting Elsa, shots of the boat chase, and Kazim telling Indiana where his father is,[23] Robert Watts gained control of the Grand Canal from 7 am to 1 pm, sealing off tourists for as long as possible. Cinematographer Douglas Slocombe positioned the camera to ensure no satellite dishes would be visible.[13] San Barnaba di Venezia served as the library's exterior.[5] The next day, filming moved to the ancient city of Petra, Jordan, where Al Khazneh (The Treasury) stood in for the temple housing the Grail. The cast and crew became guests of King Hussein and Queen Noor. The Treasury had previously appeared in Sinbad and the Eye of the Tiger. The main cast completed their scenes that week, after 63 days of filming.[13]

The second unit filmed part of the prologue's 1912 segment from August 29 to September 3. The main unit began two days later with the circus train sequence at Alamosa, Colorado, on the Cumbres and Toltec Scenic Railroad. They filmed at Pagosa Springs on September 7, and then at Cortez on September 10. From September 14 to 16, filming of Indiana falling into the train carriages took place in Los Angeles. The production then moved to Utah's Arches National Park to shoot more of the opening. A house in Antonito, Colorado was used for the Jones family home.[27] The production had intended to film at Mesa Verde National Park, but Native American representatives had religious objections to its use.[23] When Spielberg and editor Michael Kahn viewed a rough cut of the film in late 1988, they felt it suffered from a lack of action. The motorcycle chase was shot during post-production at Mount Tamalpais and Fairfax near Skywalker Ranch. The closing shot of Indiana, Henry, Sallah and Brody riding into the sunset was filmed in Amarillo, Texas in early 1989 by the second unit, directed by Frank Marshall.[13][11] Filming ended on September 16, 1988 after 123 days of filming.

Design

Mechanical effects supervisor George Gibbs said the film was the most difficult one of his career.[23] He visited a museum to negotiate renting a small French World War I tank, but decided he wanted to make one.[13] The tank was based on the Tank Mark VIII, which was 11 metres (36 ft) long and weighed 28 short tons (25 t). However, some liberties were taken with the design.[28] Gibbs built the tank over the framework of a 28-short-ton (25 t) excavator and added 7-short-ton (6.4 t) tracks that were driven by two automatic hydraulic pumps, each connected to a Range Rover V8 engine. Gibbs built the tank from steel rather than aluminum or fiberglass because it would allow the realistically suspensionless vehicle to endure the rocky surfaces. Unlike its historic counterpart, which had only the two side guns, the tank had a turret gun added as well. It took four months to build and was transported to Almería on a Short Belfast plane and then a low loader truck.[23]

The tank broke down twice. The distributor's rotor arm broke and a replacement had to be sourced from Madrid. Then two of the device's valves used to cool the oil exploded, due to solder melting and mixing with the oil. It was very hot in the tank, despite the installation of ten fans, and the lack of suspension meant the driver was unable to stop shaking during filming breaks.[23] The tank only moved at 10 to 12 miles per hour (16 to 19 km/h), which Vic Armstrong said made it difficult to film Indiana riding a horse against the tank while making it appear faster.[13] A smaller section of the tank's top made from aluminum and which used rubber tracks was used for close-ups. It was built from a searchlight trailer, weighed eight tons, and was towed by a four-wheel drive truck. It had safety nets on each end to prevent injury to those falling off.[23] A quarter-scale model by Gibbs was driven over a 15-metre (50 ft) cliff on location; Industrial Light & Magic created further shots of the tank's destruction with models and miniatures.[29]

Michael Lantieri, mechanical effects supervisor for the 1912 scenes, noted the difficulty in shooting the train sequence. "You can't just stop a train," he said, "If it misses its mark, it takes blocks and blocks to stop it and back up." Lantieri hid handles for the actors and stuntmen to grab onto when leaping from carriage to carriage. The carriage interiors shot at Universal Studios Hollywood were built on tubes that inflated and deflated to create a rocking motion.[23] For the close-up of the rhinoceros that strikes at (and misses) Indiana, a foam and fiberglass animatronic was made in London. When Spielberg decided he wanted it to move, the prop was sent to John Carl Buechler in Los Angeles, who resculpted it over three days to blink, snarl, snort and wiggle its ears. The giraffes were also created in London. Because steam locomotives are very loud, Lantieri's crew would respond to first assistant director David Tomblin's radioed directions by making the giraffes nod or shake their heads to his questions, which amused the crew.[29] For the villains' cars, Lantieri selected a 1914 Ford Model T, a 1919 Ford Model T truck and a 1916 Saxon Model 14, fitting each with a Ford Pinto V6 engine. Sacks of dust were hung under the cars to create a dustier environment.[23]

Spielberg used doves for the seagulls that Henry scares into striking the German plane because the real gulls used in the first take did not fly.[5] In December 1988, Lucasfilm ordered 1,000 disease-free gray rats for the catacombs scenes from the company that supplied the snakes and bugs for the previous films. Within five months, 5,000 rats had been bred for the sequence;[5] 1,000 mechanical rats stood in for those that were set on fire. Several thousand snakes of five breeds—including a boa constrictor—were used for the train scene, in addition to rubber ones onto which Phoenix could fall. The snakes would slither from their crates, requiring the crew to dig through sawdust after filming to find and return them. Two lions were used, which became nervous because of the rocking motion and flickering lights.[23]

Costume designer Anthony Powell found it a challenge to create Connery's costume because the script required the character to wear the same clothes throughout. Powell thought about his own grandfather and incorporated tweed suits and fishing hats. Powell felt it necessary for Henry to wear glasses, but did not want to hide Connery's eyes, so chose rimless ones. He could not find any suitable, so he had them specially made. The Nazi costumes were genuine and were found in Eastern Europe by Powell's co-designer Joanna Johnston, to whom he gave research pictures and drawings for reference.[13] The motorcycles used in the chase from the castle were a mixed bag: the scout model with sidecar in which Indy and Henry escape was an original Dnepr, complete with machine gun pintle on the sidecar, while the pursuing vehicles were more modern machines dressed up with equipment and logos to make them resemble German army models. Gibbs used two Swiss Pilatus P-2 air force training planes standing in as pursuing Luftwaffe Arado Ar 96s for the Zeppelin biplane escape sequence. He built a device based on an internal combustion engine to simulate gunfire, which was safer and less expensive than firing blanks.[29] Baking soda was applied to Connery to create Henry's bullet wound. Vinegar was applied to create the foaming effect as the water from the Grail washes it away.[29] At least one reproduction Kübelwagen was used during filming despite the film being set two years prior to manufacture of said vehicles.

Effects

Industrial Light & Magic (ILM) built an 8-foot (2.4 m) foam model of the Zeppelin to complement shots of Ford and Connery climbing into the Gotha Go 145C biplane. A biplane model with a 2-foot (0.61 m) wingspan was used for the shot of the biplane detaching. Stop motion animation was used for the shot of the German fighter's wings breaking off as it crashes through the tunnel. The tunnel was a 210 feet (64 m) model that occupied 14 of ILM's parking spaces for two months. It was built in eight-foot sections, with hinges allowing each section to be opened to film through. Ford and Connery were filmed against bluescreen; the sequence required their car to have a dirty windscreen, but to make the integration easier this was removed and later composited into the shot. Dust and shadows were animated onto shots of the plane miniature to make it appear as if it disturbed rocks and dirt before it exploded. Several hundred tim-birds were used in the background shots of the seagulls striking the other plane; for the closer shots, ILM dropped feather-coated crosses onto the camera. These only looked convincing because the scene's quick cuts merely required shapes that suggested gulls.[29] ILM's Wes Takahashi supervised the film's effects sequences.[30]

Spielberg devised the three trials that guard the Grail.[4] For the first, the blades under which Indiana ducks like a penitent man were a mix of practical and miniature blades created by Gibbs and ILM. For the second trial, in which Indiana spells "Iehova" on stable stepping stones, it was intended to have a tarantula crawl up Indiana after he mistakenly steps on "J". This was filmed and deemed unsatisfactory, so ILM filmed a stuntman hanging through a hole that appears in the floor, 30 feet (9.1 m) above a cavern. As this was dark, it did not matter that the matte painting and models were rushed late in production. The third trial, the leap of faith that Indiana makes over an apparently impassable ravine after discovering a bridge hidden by forced perspective, was created with a model bridge and painted backgrounds. This was cheaper than building a full-size set. A puppet of Ford was used to create a shadow on the 9-foot-tall (2.7 m) by 13-foot-wide (4.0 m) model because Ford had filmed the scene against bluescreen, which did not incorporate the shaft of light from the entrance.[29]

Spielberg wanted Donovan's death shown in one shot, so it would not look like an actor having makeup applied between takes. Inflatable pads were applied to Julian Glover's forehead and cheeks by Nick Dudman that made his eyes seem to recede during the character's initial decomposition, as well as a mechanical wig that grew his hair. The shot of Donovan's death was created over three months by morphing together three puppets of Donovan created by Stephan Dupuis in separate stages of decay, a technique ILM mastered on Willow (1988).[21] A fourth puppet was used for the decaying clothes, because the puppet's torso mechanics had been exposed. Complications arose because Alison Doody's double had not been filmed for the scene's latter two elements, so the background and hair from the first shot had to be used throughout, with the other faces mapped over it. Donovan's skeleton was hung on wires like a marionette; it required several takes to film it crashing against the wall because not all the pieces released upon impact.[29]

Ben Burtt designed the sound effects. He recorded chickens for the sounds of the rats,[13] and digitally manipulated the noise made by a Styrofoam cup for the castle fire. He rode in a biplane to record the sounds for the dogfight sequence, and visited the demolition of a wind turbine for the plane crashes.[29] Burtt wanted an echoing gunshot for Donovan wounding Henry, so he fired a .357 Magnum in Skywalker Ranch's underground car park, just as Lucas drove in.[13] A rubber balloon was used for the earthquake tremors at the temple.[31] The film was released in selected theaters in the 70 mm Full-Field Sound format, which allowed sounds to not only move from side to side, but also from the theater's front to its rear.[29]

Matte paintings of the Austrian castle and the Berlin airport were based on real buildings; the Austrian castle "Schloss Brunwald" is Bürresheim Castle near Mayen in Rhineland-Palatinate, Germany, that was made to look larger. Rain was created by filming granulated Borax soap against black at high speed. It was only lightly double exposed into the shots so it would not resemble snow. The lightning was animated. The Administration Building at San Francisco's Treasure Island was used as the exterior of Berlin Tempelhof Airport. The structure already had period-appropriate art deco architecture, as it had been constructed in 1938 for planned use as an airport terminal. ILM added a control tower, Nazi banners, vintage automobiles and a sign stating "Berlin Flughafen". The establishing shot of the Hatayan city at dusk was created by filming silhouetted cutouts that were backlit and obscured by smoke. Matte paintings were used for the sky and to give the appearance of fill light in the shadows and rim light on the edges of the buildings.[29]