Battle Beyond the Stars (1980)

PG | 104 mins | Science fiction | 8 August 1980

Director:

Jimmy T. Murakami

Producer:

Ed Carlin

Cinematographer:

Daniel Lacambre

Production Designers:

Jim Cameron , Charles Breen

Production Company:

New World Pictures
Full page view
HISTORY

       A 14 Jul 1980 Box article stated that executive producer Roger Corman found the inspiration for the film from his desire to do a version of The Magnificent Seven (1960, see entry) in outer space. After the success of Star Wars (1977, see entry), Corman felt his concept was viable. According to production notes in AMPAS library files, Corman again teamed up with writer John Sayles, following their successful collaboration on Piranha (1978, see entry).
       Box reported that Corman purchased a shuttered lumberyard in Venice, CA, to build a special effects studio for New World Pictures. There, he created a 100-foot x 200-foot sound stage, a model shop, and surrounding editing rooms to make the facility a self-contained studio. A 28 Jul 1980 DV article reported that Corman paid $3 million for the lot, and wanted to spend an additional $600,000 for special effects. However, he could not find experts to work within his budget.
       Corman’s solution was to hire Special Effects Producer/Supervisor C. [Chuck] Comisky, who worked with a staff of twenty, to create 400 special effects shots, using a variety of techniques at a cost of $700,000. Comisky saved money by employing low-tech methods from the early days of film, such as the use of spray deodorant to simulate liftoff exhaust, forced perspective in which a model sat on a table while actors were positioned far in the background, and creating in-camera composites by blacking out sections of film with tape, rewinding the film, removing the tape blocking the other part of the lens, and exposing the unexposed portion of ...

More Less

       A 14 Jul 1980 Box article stated that executive producer Roger Corman found the inspiration for the film from his desire to do a version of The Magnificent Seven (1960, see entry) in outer space. After the success of Star Wars (1977, see entry), Corman felt his concept was viable. According to production notes in AMPAS library files, Corman again teamed up with writer John Sayles, following their successful collaboration on Piranha (1978, see entry).
       Box reported that Corman purchased a shuttered lumberyard in Venice, CA, to build a special effects studio for New World Pictures. There, he created a 100-foot x 200-foot sound stage, a model shop, and surrounding editing rooms to make the facility a self-contained studio. A 28 Jul 1980 DV article reported that Corman paid $3 million for the lot, and wanted to spend an additional $600,000 for special effects. However, he could not find experts to work within his budget.
       Corman’s solution was to hire Special Effects Producer/Supervisor C. [Chuck] Comisky, who worked with a staff of twenty, to create 400 special effects shots, using a variety of techniques at a cost of $700,000. Comisky saved money by employing low-tech methods from the early days of film, such as the use of spray deodorant to simulate liftoff exhaust, forced perspective in which a model sat on a table while actors were positioned far in the background, and creating in-camera composites by blacking out sections of film with tape, rewinding the film, removing the tape blocking the other part of the lens, and exposing the unexposed portion of the frame in the film. A 3 Sep 1980 LAHExam stated that a rocky maze on the way to the city of Akir was created by forming a foundation made of plywood to which crumbled tinfoil was stapled, spray painted brown, and then peat moss was applied to the wet surface.
       Box stated that Orion Pictures paid $2.5 million for foreign distribution rights, which helped Corman offset his costs. Corman also presold cable television rights to Home Box Office for $750,000.
       According to an article in the 3 Sep 1980 LAHExam, principal photography began Feb 1980 in Venice, CA, although it was suggested that the announcement was omitted from trade papers to avoid attention from “certain unions.” This allowed Corman added flexibility in the amount of hours crew members could work, filming complex live-action sequences. The LAHExam reported that some filming was done at Hollywood, CA’s Bronson Avenue studio, while the new sets were built at the Venice facility. However, the production experienced several delays, during the first week of filming when the art department could not meet deadlines, necessitating the firing of the original art director, and the first assistant director. Production notes state that Steve Neill and Rick Stratton, in charge of prosthetic makeup, fitted more than thirty-five actors “with makeup, mask, and face pieces.”
       According to a 21 Mar 1980 DV article, the $5 million-budgeted picture completed principal photography on that day.
       The film earned almost $1.3 million after three days in domestic release, scoring the biggest opening in the history of New World Pictures, according to a news item in the 29 Jul 1980 HR.
       The LAHExam reported that the picture marked the theatrical directorial debut of Jimmy T. Murakami, well known for his work in animation. Production notes state that Steve Davis, a former “Mr. World” and “Mr. California,” made his theatrical film debut in the role of “Quopeg.”

      The following acknowledgments appear in end credits: “Special Thanks to PMW and Eai Murway, Ease Owyeung, Eli Cyngiser, Peter Anderson, Walt Dodge, [last two names illegible on print reviewed by AFI].”

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
14 Jul 1980
---
Daily Variety
21 Mar 1980
pp. 1, 4
Daily Variety
28 Jul 1980
---
Hollywood Reporter
29 Jul 1980
---
Hollywood Reporter
22 Aug 1980
p. 2
LAHExam
3 Sep 1980
Section B, p. 1,4-5
Los Angeles Times
28 Aug 1980
p. 7
New York Times
9 Aug 1980
p. 10
Variety
30 Jul 1980
p. 22
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
New World Pictures Presents
A Roger Corman Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
2d asst dir
Gale Hurd
Asst prod mgr
Asst prod mgr
PRODUCERS
Prod
Assoc prod
Exec prod
WRITERS
Story
Story
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
2d asst cam
Gaffer
Best boy
Key grip
Lighting pieces
Rigging gaffer
Still photog
Elec supv
Elec supv
Grip
Dir of photog, Spec photographic eff
Dir of photog, Spec photographic eff
Cam op, Spec photographic eff
Cam op, Spec photographic eff
Gaffer, Spec photographic eff
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Dir of photog, Addl photog
Laboratory
ART DIRECTORS
Jim Cameron
Art dir
Art dir
Asst art dir
Art dept coord
Visual consultant
Visual consultant
Visual consultant
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
Art dept
FILM EDITORS
Asst ed
Asst ed
Asst ed
SET DECORATORS
Const supv
Const coord
Set dec
Leadman
Prop master
Prop master
Spec props
Spec props
Carpenter foreman
COSTUMES
Asst cost des
Jewelry des
Ward asst
Ward asst
MUSIC
Mus comp
SOUND
Sd mixer
Boom op
Supv sd ed
Dial ed
Spec sd eff
Re-rec studio
VISUAL EFFECTS
Pyrotechnics
Pyrotechnics
Eff lighting supv
Eff lighting and props
Eff lighting and props
Eff lighting and props
Eff lighting and props
Eff lighting and props
Miniature photographic eff, Spec photographic eff
Prod/Supv, Spec photographic eff
Prod mgr, Spec photog eff
Prod mgr, Spec photog eff
Tech dir, Spec photog eff
Ed, Spec photog eff
Ed, Spec photog eff
Asst ed, Spec photog eff
Asst ed, Spec photog eff
Opt eff supv, Spec photographic eff
Opt ed, Spec photographic eff
Opt lineup, Spec photographic eff
Spec designs/Effects creations, Spec photographic
Rotoscope, anim, and graphic eff
Rotoscope, anim, and graphic eff
Rotoscope, anim, and graphic eff
Rotoscope, anim, and graphic eff
Rotoscope, anim, and graphic eff
Rotoscope, anim, and graphic eff
Rotoscope, anim, and graphic eff
Supv, Miniature des and const
Eng, Miniature des and const
Miniature des and const
Miniature des and const
Miniature des and const
Miniature des and const
Miniature des and const
Miniature des and const
Opt consultant
Opt consultant
MAKEUP
Makeup
Asst makeup
Quopeg's tattoo
Prosthetic makeup
Prosthetic makeup
Hairdresser
Prosthetic asst
Prosthetic asst
Prosthetic asst
PRODUCTION MISC
Dial dir
Prod coord
Charles Skouras, III
Prod coord
Unit pub
Auditor
Tech adv
Motion control cam system supplied by
Craft services
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
'Dial-A-Date' projections
Computers and tech hardware
DETAILS
Release Date:
8 August 1980
Premiere Information:
New York opening: 8 Aug 1980; Los Angeles opening: 29 Aug 1980
Production Date:
Feb--21 Mar 1980 in Venice, California
Copyright Info
Claimant
Date
Copyright Number
Orion Pictures Company & New World Pictures, Inc.
29 December 1980
PA89078
Physical Properties:
Sound
Color
Duration(in mins):
104
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

A hostile alien spaceship vaporizes a weather station in outer space without warning, and lands on the planet Akir. There, its captain and leader, Sador of the Malmori, announces his plan to conquer Akir and its inhabitants. Sador possesses a powerful weapon called a “stellar converter” that will destroy anyone who crosses him. To make his point, Sador randomly kills many Akir citizens. He promises to return in seven days, and sends his guards, Kalo and Tembo, to keep watch over Akir and its citizens. At an Akiran council meeting, members agree that its citizens have observed a code of non-violence for centuries and are not capable of stopping an invasion. The only way to survive is to hire mercenaries to defeat Sador. Shad offers to search for them, and is instructed to meet a weapons expert named Dr. Hephaestus. Kalo and Tembo see Shad’s ship leave the planet, and attempt to destroy it. When Shad evades their fire, the men return to Akir to stand guard for fear of disobeying Sador’s orders. Shad lands at the doctor’s station, and boards a people mover that immobilizes him in neck and wrist restraints. He is then delivered to the workshop of Nanelia, Hephaestus’ daughter. There, she interrogates him about his intentions, and arranges for Shad to meet her father. Hephaestus tells Shad that Akir is doomed, but he is welcome to stay and breed with Nanelia. Shad soon persuades Nanelia that a wonderful world exists beyond her father’s station. He boards his ship, after stealing some weapons, and Nanelia follows in a smaller craft. Soon, Shad gets some target practice when he saves a mercenary space traveler named “Cowboy” ...

More Less

A hostile alien spaceship vaporizes a weather station in outer space without warning, and lands on the planet Akir. There, its captain and leader, Sador of the Malmori, announces his plan to conquer Akir and its inhabitants. Sador possesses a powerful weapon called a “stellar converter” that will destroy anyone who crosses him. To make his point, Sador randomly kills many Akir citizens. He promises to return in seven days, and sends his guards, Kalo and Tembo, to keep watch over Akir and its citizens. At an Akiran council meeting, members agree that its citizens have observed a code of non-violence for centuries and are not capable of stopping an invasion. The only way to survive is to hire mercenaries to defeat Sador. Shad offers to search for them, and is instructed to meet a weapons expert named Dr. Hephaestus. Kalo and Tembo see Shad’s ship leave the planet, and attempt to destroy it. When Shad evades their fire, the men return to Akir to stand guard for fear of disobeying Sador’s orders. Shad lands at the doctor’s station, and boards a people mover that immobilizes him in neck and wrist restraints. He is then delivered to the workshop of Nanelia, Hephaestus’ daughter. There, she interrogates him about his intentions, and arranges for Shad to meet her father. Hephaestus tells Shad that Akir is doomed, but he is welcome to stay and breed with Nanelia. Shad soon persuades Nanelia that a wonderful world exists beyond her father’s station. He boards his ship, after stealing some weapons, and Nanelia follows in a smaller craft. Soon, Shad gets some target practice when he saves a mercenary space traveler named “Cowboy” from being killed by hostile forces. Cowboy informs Shad that Sador has never lost a war, and they watch as Sador’s stellar converter destroys the planet, Omatil. Cowboy, who had planned to deliver an arsenal of hand weapons to the planet, offers to sell the shipment to Shad, who agrees to buy the weapons. Since Shad saved Cowboy’s life, Cowboy agrees to train the citizens of Akir. When Nanelia is knocked out by an asteroid storm, an alien ship captures her ship and takes her hostage. As she awakens, Nanelia learns she is aboard a Zymer ship, operated by a race of aliens that eat humans. The alien then introduces her to two Kelvin crewmates, who communicate by degrees of heat. At first, the alien thinks Nanelia might fetch a good price at the right market, but when she explains she is on a mission to fight Sador, he is familiar with Sador’s tyranny, and agrees to help her destroy him. Nell, the operating system on Shad’s ship, announces that the craft is being drawn into the magnetic net of an alien ship. Since his vessel is not powerful enough to resist, Shad is captured. Aboard the strange craft, he meets a group of pale alien clones known as Nestors. Nestor #1 admits that it would be an adventure to be a mercenary. He
reveals that he has read Shad’s mind, and would like to fight in the war against Sador. He explains that all Nestors in the universe share the consciousness of the original Nestor, which makes life boring. Back on the ship, Nell informs Shad that the city of Askasta is the place to recruit other mercenaries. In his search on Askasta, Shad is almost killed by Gelt, as he plays with a vending machine. Gelt tells Shad that only he and a few others have survived because their planet was considered a threat and decimated by an interplanetary army. Since there is a bounty on Gelt’s head in most parts of the galaxy, he decides that fighting for Akir will give him a place to hide, and he joins Shad’s cause. The reptilian Cayman, another mercenary from the Lambda Zone, also joins them. Later, Sador’s guards see the fleet of ships, when Gelt attacks and kills the men. On Akir, Nanelia briefs the mercenaries and says they have five ships, while Sador has twenty-five. Their only hope is to destroy his stellar converter. To activate the weapon, Sador’s ship has to lower its force field, and that is when it is most vulnerable. Meanwhile, Sador refuses to believe anyone associated with Akir could wipe out Kalo and Tembo. On Akir, Nanelia’s warning system alerts Shad of Sador’s imminent return. Shad orders everyone to their battle stations. The mercenaries take turn attacking Sador’s space ship and smaller star fighters. Soon, Gelt is fatally wounded when his craft crashes and explodes. When Sador’s forces land on Akir, Cowboy and other Akirans defend themselves with handguns. Sador uses loud sonic frequencies to prevent the mercenaries from advancing. The Kelvins vaporize several soldiers then collapse. Meanwhile, Shad tends to the wounded, while Nanelia persuades him to let her join the battle. He admits that he is terrified, and they kiss. On his ship, Sador gives the order for a full-scale attack. The mercenaries counterattack, but soon the Nestor ship is hit. Next, Sador orders his soldiers to ready the stellar converter. However, a mercenary named St. Examin ejects from her craft, which plows into the converter, damaging the weapon. Sador gives the order to retreat, but Cayman taunts him to finish the fight. Meanwhile, Cowboy joins the battle and makes some strategic shots before his ship is destroyed. Shad responds with a series of attacks until his ship is struck, wiping out Nell’s memory banks. As Shad switches the ship’s controls to manual, Sador gives the order to capture Shad’s ship. Sador’s tractor beams pull Shad’s ship toward the enemy, and Shad reverses thrusters and programs his ship to destruct. Shad and Nanelia escape on a pod transport, while the explosion from his ship rips through Sador’s vessel and blows it apart. As Nanelia and Shad hug and rejoice at their victory, they agree that they will keep the memory of the mercenaries alive.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Casablanca

In the onscreen credits, actor S. Z. Sakall's name is incorrectly spelled "S. K. Sakall." HR news items add the following information about the production: ... >>

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

Gone with the Wind

[Note from the Editors : the following information is based on contemporary news items, feature articles, reviews, interviews, memoranda and corporate records. Information obtained from modern sources is ... >>

Star Wars

The film’s title card is preceded by the statement: “A long time ago in a galaxy far, far away....” Afterward, a prologue reads: “It is a period of ... >>

Arabian Nights

Arabian Nights opens and closes with a framing story featuring an elderly guardian relating the story of two rival brothers, Haroum-al-Raschid and Kamar al Zaman, to six ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.