Well, as I say, when I was up here in San Francisco, we had no mixing facilities up here.

We had no editing facilities up here.

So I had to create, you know, Zoetrope basically was an editing mixing facility when it got

sort of cabashed in the, what we call the Black Tuesday massacre of all our scripts and THX and everything, and we were

thrown to the winds.

I realized I was going to have to start my own, you know, buy my own editing equipment and

eventually build my own little mixing studio so that I could make my movies.

The idea up here was that we didn't build sound stages. We went and shot anywhere

in the world. We wanted to shoot the movie, and then we'd come back here and finish them.

So we'd write them here and finish them here, but we'd actually make them somewhere else in the

world. And so I needed a facility to do that, which is really where Skywalker Ranch came from.

Originally, it was a little house in San Encelmo.

And then after Star Wars, we outgrew that, and I built this place.

The thing about visual effects is when I did Star Wars,

I had an idea of doing this crazy 1930s serial action adventure film, and the idea was it

would be very, very fast-paced and very exciting.

And the problem was, is there really were no special effects facilities at that time.

Doug Trumbull had the closest thing to a special effects facility, but he was trying

to be a director in direct features, and he'd retired from the special effects business at

that point. So I went to a few of the people that worked for him that were doing sort

of industrial films for the planetariums or people that were doing Pillsbury-Doboy commercials

and that sort of thing, and then a lot

...