Star Wars: Episode I – The Phantom Menace is a 1999 American epic space-opera film written and directed by George Lucas, produced by Lucasfilm, distributed by 20th Century Fox and starring Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz. It is the first installment in the Star Wars prequel trilogy and begins the "Skywalker saga," though it was the fourth film to be produced. Set 32 years before the original trilogy, during the era of the Galactic Republic, the plot follows Jedi Master Qui-Gon Jinn and his apprentice Obi-Wan Kenobi as they try to protect Queen Padmé Amidala of Naboo in hopes of securing a peaceful end to an interplanetary trade dispute. Joined by Anakin Skywalker—a young slave with unusually strong natural powers of the Force—they simultaneously contend with the mysterious return of the Sith.
The Trade Federation creates turmoil in the Galactic Republic by blockading the planet Naboo in preparation for a full-scale invasion. The Republic's leader, Supreme Chancellor Finis Valorum, dispatches Jedi Knight Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi, to negotiate with Trade Federation Viceroy Nute Gunray. Darth Sidious, a Sith Lord and the Trade Federation's secret benefactor, orders the Viceroy to kill the Jedi and begin their invasion with an army of battle droids. The Jedi escape and flee to Naboo. During the invasion, Qui-Gon rescues a Gungan outcast, Jar Jar Binks. Indebted to Qui-Gon, Jar Jar leads the Jedi to Otoh Gunga, the Gungans' underwater city. The Jedi fail to persuade the Gungan leader, Boss Nass, to help the planet's surface dwellers, but manage to obtain Jar Jar's guidance and underwater transport to Theed, the capital city of Naboo. After rescuing Queen Padmé Amidala, the group make their escape from Naboo aboard her Royal Starship, intending to reach the Republic capital planet of Coruscant.
Passing through the Federation blockade, the ship is damaged in the crossfire, and its hyperdrive malfunctions. The ship lands for repairs on the outlying desert planet of Tatooine, situated beyond the Republic's jurisdiction. Qui-Gon, Jar Jar, astromech droid R2-D2, and Padmé—disguised as one of her handmaidens—visit the settlement of Mos Espa to purchase a new part for their hyperdrive. They encounter a junk dealer, Watto, and his nine-year-old slave, Anakin Skywalker, a gifted pilot and engineer who has built a protocol droid, C-3PO.
Qui-Gon senses a strong presence of the Force within Anakin, and is convinced that he is the prophesied "Chosen One," destined to restore balance to the Force. With Watto refusing to accept payment in Republic currency, Qui-Gon wagers both the required hyperdrive part and Anakin's freedom in a podrace. Anakin wins the race and joins the group to be trained as a Jedi, leaving behind his mother, Shmi. En route to their starship, Qui-Gon encounters Darth Maul, Sidious' apprentice, who was sent to capture Amidala. After a brief lightsaber duel, Qui-Gon escapes aboard the starship with the others.
Qui-Gon and Obi-Wan escort Padmé to Coruscant so that she can plead her people's case to Valorum and the Galactic Senate. Qui-Gon asks the Jedi Council for permission to train Anakin as a Jedi, but the Council refuses, concerned that Anakin is vulnerable to the dark side of the Force. Undaunted, Qui-Gon vows to take up Anakin as his new apprentice. Meanwhile, Naboo's Senator Palpatine persuades Amidala to call for a vote of no confidence in Valorum to elect a more capable leader and to resolve the crisis. Though she is successful in pushing for the vote, Amidala grows frustrated with the corruption in the Senate, and decides to return to Naboo. Qui-Gon and Obi-Wan are ordered by the Jedi Council to accompany the queen and investigate the return of the Sith, whom they had thought to be extinct for over a millennium.
On Naboo, Padmé reveals herself as the queen before the Gungans to gain their trust, and persuades them to help against the Trade Federation. Jar Jar is promoted to general and joins his tribe in a battle against the droid army, while Padmé leads the search for Gunray in Theed. Qui-Gon tells Anakin to hide inside a starfighter in the palace hangar, but he accidentally triggers its autopilot, and flies into space, joining the Naboo pilots in their battle against the Federation droid control ship. With R2's help, Anakin pilots the fighter into the ship and causes its destruction from within, deactivating the droid army. Meanwhile, Maul, who has been dispatched by Sidious to assist Gunray, engages Qui-Gon and Obi-Wan in a lightsaber duel. He mortally wounds Qui-Gon, but is then cut in half by Obi-Wan, and his remains fall down a shaft. Qui-Gon asks Obi-Wan to train Anakin before dying in his arms.
Following the battle, Gunray is arrested by the Republic, and Palpatine is elected Chancellor. Master Yoda promotes Obi-Wan to the rank of Jedi Knight, and reluctantly accepts Anakin as Obi-Wan's apprentice. A funeral is held for Qui-Gon, attended by the other Jedi, who contemplate that there is still one Sith remaining since there are always two of them. During a celebratory parade on Naboo, Padmé presents a gift of thanks to the Gungans to establish peace.
- Liam Neeson as Qui-Gon Jinn
- Ewan McGregor as Obi-Wan Kenobi
- Natalie Portman as Queen Padmé Amidala
- Jake Lloyd as Anakin Skywalker
- Ian McDiarmid as Senator Palpatine/Darth Sidious
- Samuel L. Jackson as Mace Windu
- Pernilla August as Shmi Skywalker
- Ray Park as Darth Maul
- Peter Serafinowicz (voice)
- Kenny Baker as R2-D2
- Keira Knightley as Sabé
- Frank Oz as Master Yoda
- Ahmed Best as Jar Jar Binks
- Anthony Daniels as C-3PO
While writing the original Star Wars film, Lucas decided the story was too vast to be covered in one film. He introduced a wider story arc that could be told in sequels if it became successful. He negotiated a contract that allowed him to make two sequels, and over time created an elaborate backstory to aid his writing process. While writing the second film, The Empire Strikes Back, Lucas considered directions in which to take the story. In the original trilogy, Darth Vader was revealed to have been Anakin Skywalker, a once-powerful Jedi Knight, and a traitor to the Jedi Order. With this backstory in place, Lucas decided that the movies would work best as a trilogy. In the trilogy's final episode, Return of the Jedi, Vader is redeemed through an act of sacrifice for Luke.
Throughout the 1980s, Lucas said he had no desire to return to Star Wars and had canceled his sequel trilogy by the time of Return of the Jedi. However, because Lucas had developed most of the backstory, the idea of prequels continued to fascinate him. In the early 1990s, Star Wars saw a resurgence in popularity in the wake of Dark Horse's comic line and Timothy Zahn's trilogy of novels. Lucas saw that there was still a large audience for his idea of a prequel trilogy, and with the development of special effects generated with computer-generated imagery (CGI), Lucas considered returning to his saga and directing the film. In 1993, it was announced in Variety and other sources that he would be making the prequels. Lucas began outlining the story; Anakin Skywalker rather than Obi-Wan Kenobi would be the protagonist, and the series would be a tragedy examining Darth Vader's origins. A relic of the original outline was that Anakin would, like his son, grow up on Tatooine. Lucas also began to change the prequels' timeline relative to the original series; instead of filling in the tangential history, they would form the beginning of a long story that started with Anakin's childhood and ended with his death. This was the final step toward turning the franchise into a saga.
Lucas began writing the Star Wars prequel trilogy on November 1, 1994. The screenplay of Star Wars was adapted from Lucas' 15-page outline that was written in 1976, which he designed to help him keep track of the characters' backstories and events that occurred before the original trilogy. Anakin was first written as a twelve-year-old, but Lucas reduced his age to nine because he felt that the lower age would better fit the plot point of Anakin being affected by his mother's separation from him. Eventually, Anakin's younger age led Lucas to rewrite his participation in the movie's major scenes. The film's working title was The Beginning; Lucas later revealed that its true title was The Phantom Menace; a reference to Palpatine hiding his true identity as an evil Sith Lord behind the facade of a well-intentioned public servant.
The larger budget and possibilities opened up by the use of digital effects made Lucas "think about a much grander, more epic scale—"which is what I wanted Star Wars to be". The story ended with five simultaneous, ongoing plots, one leading to another. The central plot is Palpatine's intent to become Chancellor, which leads to the Trade Federation's attack on Naboo, the Jedi being sent there, Anakin being met along the way, and the rise of the Sith Lords. As with the original trilogy, Lucas intended The Phantom Menace to illustrate several themes throughout the narrative. Duality is a frequent theme; Amidala is a queen who passes as a handmaiden, Palpatine plays on both sides of the war, among others. "Balance" is frequently suggested; Anakin is supposedly "the one" chosen to bring balance to the Force—Lucas said, "Anakin needed to have a mother, Obi-Wan needed a Master, Darth Sidious needed an apprentice" as without interaction and dialogue, "you wouldn't have drama".
In November 2015, Ron Howard confirmed that he, Robert Zemeckis, and Steven Spielberg were approached by Lucas to direct The Phantom Menace. All three approached directors told Lucas that he should direct the film, as they each found the project "too daunting."
Pre-production and design
Before Lucas had started writing, his producing partner Rick McCallum was preparing for the film. McCallum stated that his experience with The Young Indiana Jones Chronicles led to many of his decisions on The Phantom Menace, such as long-term deals with actors and soundstages, the employment of recent graduates with no film experience, and the creation of sets and landscapes with digital technology. In April 1994, McCallum started searching for artists in art, architecture and design schools, and in mid-year he began location scouting with production designer Gavin Bocquet. Industrial Light & Magic (ILM) art director Doug Chiang impressed McCallum the most and was hired as the design director. Art development on the film began in January 1995.
Within three to four months of Lucas beginning the writing process, Chiang and his design team started a two-year process of reviewing thousands of designs for the film. Chiang stated that Lucas intended Episode I to be stylistically different from the other Star Wars films; it would be "richer and more like a period piece, since it was the history leading up to A New Hope." The story takes place on three planets, some with varied environments such as the human and Gungan cities of Naboo and three buildings in Coruscant. With the exception of the Gungan city, which had an art nouveau-inspired visual, these locations would be given distinctive looks with some basis in the real world. The concept drawings of Ralph McQuarrie for the original trilogy served as the basis for Mos Espa—which was also inspired by old Tunisian hotels and buildings and had touches such as a market place to differentiate it from A New Hope's Mos Eisley—and Coruscant, in particular a metropolis design that became the basis for the Senate. Bocquet would later develop the work of Chiang's team and design the interiors, translating the concepts into construction blueprints with environments and architectural styles that had some basis in reality "to give the audience something to key into." Some elements were directly inspired by the original trilogy; Lucas described the battle droids as predecessors to the stormtroopers. Chiang uses that orientation to base the droids on the Imperial soldiers, only in the same style of stylized and elongated features seen in tribal African art.
Terryl Whitlatch, who had a background on zoology and anatomy, was in charge of creature design. Many of the aliens are hybrids, combining features of real animals. At times, entire food chains were developed, even though only a small percentage of them would appear in the film. Whitlatch also designed detailed skeletons for the major characters and facial muscles on Jar Jar Binks as a reference for ILM's animators. Each creature would reflect its environment; those on Naboo were more beautiful because the planet is "lush and more animal-friendly", Tatooine has rough-looking creatures "with weather-beaten leathery skin to protect them from the harsh desert elements", and Coruscant has bipedal, human-looking aliens.
The film made extensive use of the new technique of digital pre-visualization, using computers to essentially create 3-D animated storyboards. This was done for dozens of scenes in the film but was first and primarily used in the pod race sequence. Animatic supervisor David Dozoretz, also an ILM alum, worked on this sequence for nearly three years, and at one point had a 25 minute version of the race, although the film only included a 9-minute version. Qui-Gon Jinn and Obi-Wan Kenobi dueling Darth Maul. Lucas wanted the lightsaber battles to be fast and more intense than those of the original trilogy, depicting the Jedi in their prime. This scene was highly praised by critics and audiences. Stunt coordinator Nick Gillard was recruited to create a new Jedi fighting style for the prequel trilogy. Gillard likened the lightsaber battles to a chess game "with every move being a check". Because of their short-range weapons, Gillard thought that the Jedi would have had to develop a fighting style that merged every swordfighting style, such as kendo and other kenjutsu styles, with other swinging techniques, such as tennis swings and tree-chopping. While training Liam Neeson and Ewan McGregor, Gillard wrote a sequence that lasted around 60 seconds and intended to be around five or six sequences per fight. Lucas later referred to the Jedi as "negotiators" rather than high-casualty soldiers. The preference of hand-to-hand combat was intended to give a spiritual and intellectual role to the Jedi. Because Gillard thought that the stunt jumps with the actors and stuntmen dangling from wires did not look realistic, air rams were used to propel them into the air instead.
Lucas decided to make elaborate costumes, because the film's society was more sophisticated than the one depicted in the original trilogy. Designer Trisha Biggar and her team created over 1,000 costumes that were inspired by various cultures. Biggar worked closely with concept designer Iain McCaig to create a color palette for the inhabitants of each world: Tatooine followed A New Hope with sun-bleached sand colors, Coruscant had grays, browns, and blacks, and Naboo had green and gold for humans while Gungans wore "a leathery look, like their skin". The Jedi costumes followed the tradition from the original film; Obi-Wan's costume was inspired by the costume that was worn by Guinness. Lucas said he and Biggar would look at the conceptual art to "translat[e] all of these designs into cloth and fabric and materials that would actually work and not look silly". Biggar also consulted Gillard to ensure that the costumes would accommodate action scenes, and consulted the creature department to find which fabrics "wouldn't wear too heavily" on the alien skins. A huge wardrobe department was set up at Leavesden Film Studios to create over 250 costumes for the main actors and 5,000 for the background ones.
Nute Gunray's Thai accent was chosen after Lucas and McCallum listened to various languages to decide how the Neimoidians would speak. The character design of Watto was an amalgam of rejected ideas; his expressions were based on video footage of Secombe's voice acting, photographs of animation supervisor Rob Coleman imitating the character, and modeler Steve Alpin saying Watto's lines to a mirror. Lucas described Sebulba's design as "a spider crossed with an orangutan crossed with a sloth", with a camel-like face, and clothing inspired by medieval armor.
After Samuel L. Jackson expressed interest in appearing in a Star Wars film, he was approached by casting director Robin Gurland to play Windu. Tupac Shakur was also considered for the role of Mace Windu. Ray Park, a martial arts champion with experience in gymnastics and sword fighting, was originally a member of the stunt crew. Stunt coordinator Nick Gillard filmed Park to demonstrate his conception of the lightsaber battles. Lucas and McCallum were so impressed with the test tape that they gave Park the role of Maul. His voice was considered "too squeaky" and was dubbed over in post-production by Peter Serafinowicz. Keira Knightley's parents tried to convince her not to audition, but the teenage actress still sought a role since she was a Star Wars fan. The casting was influenced by Knightley's remarkable similarity to Natalie Portman, with the actress admitting their mothers could not tell each other apart. Knightley was reported to have "cried every single day" due to finding the wardrobe uncomfortable.
Vinette Robinson auditioned for the role of Padmé Amidala.
Over 3,000 actors auditioned for the role of Anakin Skywalker including Cameron Finley, Justin Berfield and Michael Angarano.
Benicio del Toro was originally cast as Darth Maul but later left the project when the character’s lines were cut.
Michael Jackson expressed interest in playing Jar Jar Binks but he wanted to do it in prosthetic make ups while George Lucas wanted to do it in CGI.
Joseph Fiennes auditioned for the role of Obi-Wan Kenobi and nearly landed the part until George Lucas's young daughter rejected him upon meeting him during the second level of auditioning.
Silas Carson was cast as Nute Gunray because another actor was uncomfortable with the costumes used by the Trade Federation characters, which were hot, exerted a lot of pressure on the bearer, and took about 15 minutes to apply. Hugh Quarshie considered the part of Panaka as "a good career move" and a production that would be fun to make. Brian Blessed originally auditioned for the role of Sio Bibble, the Governor of Naboo, for which he was considered "too loud". Casting director Robin Gurland approached him to play Nass because it was a "bigger than life" character with "a kind of bravado". Blessed described Nass as a "reluctant hero". Sofia Coppola, daughter of Lucas' long-time friend and creative partner Francis Ford Coppola, considers Lucas as "like an uncle to me". As she prepared the script for her directorial debut The Virgin Suicides, Coppola heard Lucas would make a new Star Wars film and asked him if she could accompany him during filming. Lucas offered Coppola a role in the royal entourage, which she accepted because it "seemed like a good vantage point to watch without getting in the way".
Filming began on June 26, 1997, and ended on September 30 of that year, primarily taking place at Leavesden Film Studios in England. Leavesden was leased for a two and a half year period so the production company could leave the sets intact and return after principal photography had been completed. The forest scenes on Naboo were filmed at Cassiobury Park in Watford, Hertfordshire. Pick-ups were shot between August 1998 and February 1999 after Lucas screened a rough cut of the film for friends and colleagues in May 1998. Most of the action and stunts were filmed by Roger Christian's second unit, which worked alongside the main unit instead of afterwards because of the high number of shots to be completed daily.
The Tunisian desert was again used for the Tatooine scenes; Mos Espa was built outside the city of Tozeur. On the night following the third day of shooting in Tozeur, an unexpected sandstorm destroyed many of the sets and props. The production was quickly rescheduled to allow for repairs and was able to leave Tunisia on the date originally planned. The Italian Caserta Palace was used as the interior of the Theed City Naboo Palace; it was used as a location for four days after it had been closed to visitors. Scenes with explosions were filmed on replica sets in Leavesden. The Palace of Caserta, in Italy, was the location for the Naboo Royal Palace. A binder with the film's storyboards served as a reference for live-action filming, shots that would be filmed in front of a chroma key blue screen, and shots that would be composed using CGI. The sets were often built with the parts that would be required on screen; often they were built only up to the heights of the actors. Chroma key was extensively used for digital set extensions, backgrounds, or scenes that required cinematographer David Tattersall to seek powerful lamps to light the sets and visual effects supervisor John Knoll to develop software that would remove the blue reflection from shiny floors. Knoll, who remained on set through most of the production, worked closely with Tatterstall to ensure that the shots were suitable to add effects later. The cameras were fitted with data capture models to provide technical data for the CGI artists.
The Phantom Menace was the final Star Wars film to be shot on 35mm film until Episode VII (Star Wars: The Force Awakens). Some scenes, mostly of elements filmed by the special effects team, were shot on high definition, digital video tapes to test the performance of digital recordings, which Lucas and McCallum considered the next logical step because of the amount of digitizing—an expensive process compared to recording directly on digital media—for the compositing of computer-generated effects. All future films would be shot using Sony CineAlta high-definition video cameras. Greg Proops and Scott Capurro were filmed wearing makeup and blue bodysuits so their heads could be joined in a computer-generated body. The visual effects crew did not like the original results and crafted Fode and Beed as an entirely computer generated alien.
Editing took two years; Paul Martin Smith started the process in England and focused on dialogue-heavy scenes. Ben Burtt—who was also the film's sound editor—was responsible for action sequences under Lucas' supervision. Non-linear editing systems played a large part in translating Lucas' vision; he constantly tweaked, revised, and reworked shots and scenes. The final sound mix was added in March 1999, and the following month, the film was completed after the delivery of the remaining visual effects shots.
The film saw breakthrough in computer generated effects. About 1,950 of the shots in The Phantom Menace have visual effects. The scene in which toxic gas is released on the Jedi is the only sequence with no digital alteration. The work was so extensive that three visual effects supervisors divided the workload among themselves—John Knoll supervised the on-set production and the podrace and space battle sequences, Dennis Muren supervised the underwater sequence and the ground battle, and Scott Squires, alongside teams assigned for miniature effects and character animation, worked on the lightsaber effects.
Until the film's production, many special effects in the film industry were achieved using miniature models, matte paintings, and on-set visual effects—although other films had made extensive use of CGI. Knoll previewed 3,500 storyboards for the film; Lucas accompanied him to explain factors of the shots that would be practical and those that would be created through visual effects. Knoll later said that on hearing the explanations of the storyboards, he did not know how to accomplish what he had seen. The result was a mixture of original techniques and the newest digital techniques to make it difficult for the viewer to guess which technique was being used. Knoll and his visual effects team wrote new computer software, including cloth simulators to allow a realistic depiction of the digital characters' clothing, to create certain shots. Another goal was to create computer-generated characters that could act seamlessly with live-action actors. While filming scenes with CGI characters, Lucas would block the characters using their corresponding voice actors on-set. The voice actors were then removed and the live-action actors would perform the same scene alone. A CGI character would later be added into the shot to complete the conversation. Lucas also used CGI to correct the physical presence of actors in certain scenes. Practical models were used when their visuals helped with miniature sceneries for backgrounds, set extensions, and model vehicles that would be scanned to create the digital models or filmed to represent spaceships and podraces.
Lucas, who had previously confronted problems with the props used to depict R2-D2, allowed ILM and the production's British special effects department to create their own versions of the robot. Nine R2-D2 models were created; one was for actor Kenny Baker to be dropped into, seven were built by ILM and featured two wheelchair motors capable of moving 440 pounds (200 kg), enabling it to run and be mostly used in stage sets, and the British studio produced a pneumatic R2-D2 that could shift from two to three legs and was mostly used in Tunisia because its motor drive system allowed it to drive over sand.
Lucas originally planned to create many of the aliens with computer graphics, but those that would be more cost-effectively realized with masks and animatronics were created by Nick Dudman's creature effects team. These included the Neimodians, background characters in Mos Espa, the Jedi Council, and the Galactic Senate. Dudman's team was told where the creatures would be required six months before principal photography begun, and they rushed the production. The Neimodian suits, which were originally intended as digital characters, were delivered one day before they would be required on set. Dudman traveled to Skywalker Ranch to see the original creatures that could be reused, and read the script for a breakdown of scenes with practical creatures, leaving only the more outlandish designs to be created using CGI.
To research for the podrace vehicles, the visual effects crew visited a jet aircraft junkyard outside Phoenix, Arizona and scavenged four Boeing 747 engines. Life-sized replicas of the engines were built and sent to Tunisia to provide reference in the film. Except for Jake Lloyd inside a hydraulically controlled cockpit and a few practical podracer models, the entire podracing scene—which the effects crew designed to be as "out of this world" as possible—is computer-generated.
Like previous Star Wars films, The Phantom Menace makes several references to historical events and films that George Lucas watched in his youth. The Star Wars films typically mix several concepts from different mythologies together, drawing heavily from the hero's journey, an archetypical template developed by comparative mythologist Joseph Campbell. This film also notably borrows from Ben Hur, including the podrace sequence, which mirrors the chariot race scene; additionally, the end celebration scene closely resembles a Roman parade in Ben Hur. The face of Darth Maul drew upon depictions of the devil. There are many references to Christianity in the film, such as the appearance of Darth Maul, whose design draws heavily from traditional depictions of the devil, complete with red skin and horns. The Star Wars film cycle features a similar Christian narrative involving Anakin Skywalker; he is the "Chosen One"—the individual prophesied to bring balance to the Force—who was conceived of a virgin birth. However, unlike Jesus, Anakin will eventually fall from grace and seemingly fail to fulfill his destiny (until the prophecy comes true in Return of the Jedi).
Japanese films such as Akira Kurosawa's The Hidden Fortress influenced the original Star Wars film; scholars say that The Phantom Menace was likewise influenced by Korean and Japanese culture. Film historians Geoff King and Tanya Krzywinska write, "The costume and make-up designs ... favour a mixture of the gothic and the oriental over anything very futuristic. The gothic is most strongly apparent in Darth Maul's demonic horns and the red and black make-up mask that borrows from the facial designs found in depictions of Japanese demons". King and Krzywinska say that "Qui-Gon's pony tail and Obi-Wan's position of apprentice further encourage a reading in terms of the Samurai tradition". They also say "Amidala, in keeping with her status and character, has a number of highly formal outfits ... to go with hair sculpted into a curve that frames make-up of a Japanese cast".
The Jedi practice Zen-like meditation and martial arts, as did the ancient Japanese Samurai warriors. The name "Qui-Gon" adapts the term qigong, which refers to a Chinese discipline involving meditation and cultivation of the flow of the vital energy called "Chi" or "Qi" for healing, health, and combat. The words Ch'i (Chinese), gi (Korean), ki (Japanese), and the Indian term "Prana" all refer to the energy that is thought to flow through all living things, from the source of all chi (or power), which is "The Way" or "The Tao" in Chinese philosophy. In Taoist philosophy, from The Way, yin and yang—the opposing but complementary aspects of reality or nature—are born. Unlike Chinese philosophy, in which yin and yang are not moral qualities, the ancient Persian philosophy of Zurvanism taught that the dualism of dark and light forces are locked in an eternal battle while being two sides (or evolutes) of the same "Force", the force of time itself (Zurvan)—the prime mover. These elements derive primarily from Eastern and Iranian religions and myths.
As with other Star Wars films, the themes about family and hope are featured prominently. In the episode "Legacy" of Disney Gallery: The Mandalorian, Dave Filoni explains that the use of "Duel of the Fates" during the lightsaber duel between Darth Maul against Qui-Gon Jinn and Obi-Wan Kenobi represents the fight for the fate of Anakin Skywalker. According to Filoni, Qui-Gon Jinn acts like a father figure towards Anakin because he feels he needs one after taking him from his mother, having realized that the Jedi shouldn't be opposed to love and care. In the end, Qui-Gon dies, and thus Anakin loses his father figure; Obi-Wan Kenobi ultimately becomes his master to honor Jinn's dying wish despite his initial contempt for him, and while he comes to eventually see him like a brother as shown in Attack of the Clones and Revenge of the Sith, he doesn't act like a father, which coupled with the Jedi's indifference, seals Anakin's fate.
The release of the first new Star Wars film in 16 years was accompanied by a considerable amount of attention. According to The Wall Street Journal, so many workers announced plans to view the premiere that many companies closed on the opening day. Queue areas formed outside cinema theaters over a month before ticket sales began. More theater lines appeared when it was announced that cinemas were not allowed to sell tickets in advance until two weeks into the release. This was because of a fear that family theater-goers would be either unable to receive tickets or would be forced to pay higher prices for them. Instead, tickets were to be sold on a first-come-first-served basis. However, after meetings with the National Association of Theatre Owners, Lucasfilm agreed to allow advance ticket sales on May 12, 1999, provided there was a limit of 12 tickets per customer. As a result, some advance tickets were sold by scalpers at prices as high as US$100 apiece, which a distribution chief called "horrible" and said was exactly what they wanted to avoid. Daily Variety reported that theater owners received strict instructions from Lucasfilm that the film could only play in the cinema's largest auditorium for the first 8–12 weeks, no honor passes were allowed for the first eight weeks, and they were obliged to send their payments to distributor 20th Century Fox within seven days.
Despite worries about the film being finished on time, two weeks before its theatrical release Lucasfilm moved the release date from May 21 to 19, 1999. At the ShoWest Convention, Lucas said the change was intended to give the fans a "head start" by allowing them to view it during the week and allowing families to view it during weekends. Eleven charity premieres were staged across the United States on May 16, 1999; receipts from the Los Angeles event, where corporate packages were available for between US$5,000 and US$25,000; proceeds were donated to the Elizabeth Glaser Pediatric AIDS Foundation. Other charity premieres included the Dallas premiere for the Children's Medical Center, the Aubrey Fund for Pediatric Cancer Research at the Sloan-Kettering Hospital in New York, the Big Brother/Sister Association of the Philadelphia premiere, and the Children's National Medical Center in Washington, D.C. A statement said that tickets were sold at US$500 apiece and that certain sections of the theaters were set aside for disadvantaged children.
The film opened at 12:01 am on Wednesday, May 19, 1999 in 2,010 theaters in the United States and Canada. An additional 960 theaters screened the film later in the day. About 120 theaters showed the film continuously on opening day, including the Ziegfeld Theatre in New York City and the Chinese Theatre in Los Angeles.Foreshadowing his future conversion to digital cinematography, Lucas said the film would be released on four digital projectors (two in New York and two in Los Angeles) on June 18, 1999. Few film studios released films during the same week: DreamWorks and Universal Studios released The Love Letter on May 21 and Notting Hill on May 28, respectively. The Love Letter was a commercial failure but Notting Hill fared better and followed The Phantom Menace closely in second place.Employment consultant firm Challenger, Gray & Christmas estimated that 2.2 million full-time employees missed work to attend the film, resulting in a US$293 million loss of productivity.
- Main article: Star Wars: Episode I – The Phantom Menace (video)
The film was released worldwide on VHS between April 3 and 8, 2000. Two versions were released in North America on April 4—a standard pan and scan version and a widescreen Collector's Edition version. In its first two days of availability, the regular version sold 4.5 million copies and the limited edition sold 500,000. On June 19, 2001, it was announced that The Phantom Menace would become the first Star Wars film to be officially released on DVD, in a slightly extended cut from the theatrical release. This THX certified two-disc DVD was released on October 16, 2001, a month after the September 11 attacks.The first disc contains the film and the second disc contains special features. On the first disc, there are three randomized selected menus themed to the planets Naboo, Tatooine and Coruscant. There is an Easter egg located in the options menu. When the THX Optimizer is highlighted, the viewer can press 1-1-3-8. By doing this, some bloopers and DVD credits will be shown. The special features include seven deleted scenes completed specifically for the DVD, a commentary track featuring Lucas and producer Rick McCallum, and several documentaries—including a full-length documentary entitled The Beginning: Making Episode I. The Phantom Menace became the fastest selling DVD ever in the United States; 2.2 million copies were sold in its first week after release. This surpassed the previous record, The Mummy Returns with 2 million copies. Less than a month later, the record for the fastest selling DVD was taken by Shrek when it sold 2.5 million copies in its first three days.
The DVD version was re-released in a prequel trilogy box set on November 4, 2008. A LaserDisc version of The Phantom Menace was released in Japan on April 7, 2000, one year and six months before it was available on DVD in the U.S. The Star Wars films were released by 20th Century Fox Home Entertainment on Blu-ray Disc on September 16, 2011; The Phantom Menace was restored to improve the picture quality and remove the magnification present on the previous DVD release, restoring approximately 8 percent of the picture to the frame. In the Blu-ray release of The Phantom Menace, the Yoda puppet was replaced with a CGI model, making it consistent with the other films of the prequel trilogy.
On April 7, 2015, Walt Disney Studios, 20th Century Fox, and Lucasfilm jointly announced the digital releases of the six released Star Wars films. The Phantom Menacewas released through the iTunes Store, Amazon Video, Vudu, Google Play, and Disney Movies Anywhere on April 10, 2015.
Walt Disney Studios Home Entertainment reissued The Phantom Menace on Blu-ray, DVD, and digital download on September 22, 2019. Additionally, all six films were available for 4K HDR and Dolby Atmos streaming on Disney+ upon the service's launch on November 12, 2019. This version of the film was released by Disney on 4K Ultra HD Blu-ray box set on March 31, 2020.
- Main article: Star Wars Episode I: The Phantom Menace (soundtrack)
As with previous Star Wars films, Star Wars Episode I: The Phantom Menace's score was composed and conducted by John Williams. He started composing the score in October 1998 and began recording the music with the London Voices and London Symphony Orchestra at Abbey Road Studios on February 10, 1999. Williams decided to use electronic instruments such as synthesizers to enhance the sound and choral pieces to "capture the magical, mystical force that a regular orchestra might not have been able to provide", and create an atmosphere that was "more mysterious and mystical and less military" than those of the original trilogy. One of the most notable tracks is "Duel of the Fates", which uses the chorus to give a religious, temple-like feel to the epic lightsaber duel. The track was made into a music video. While composing Anakin's theme, Williams tried to reflect the innocence of his childhood and to foreshadow his transformation into Darth Vader by using slight suggestions of "The Imperial March" in the melody.
The film's soundtrack was released by Sony Classical Records on May 4, 1999. This album featured the score, which Williams restructured as a listening experience; it is not presented in film order and omits many notable cues from the film because of the space restriction of the compact disc. A two-disc "Ultimate Edition" was released on November 14, 2000. The set features the entire score as it is heard in the film, including all of the edits and loops that were made for the sound mix.
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