"George Lucas was casting about and had heard favourable things about my work in Clockwork Orange and asked me to come in, which of course I did even though no one knew what the film was about!"
About this Quote
Here’s the quiet punchline of blockbuster history: even the guy who would literally embody Darth Vader walked into Star Wars without a clue what it was. David Prowse’s line is doing two things at once. On the surface, it’s a humble, almost pub-ready anecdote about being invited to meet George Lucas. Underneath, it’s a reminder that cultural monuments are often built out of guesswork, reputation, and industry gossip rather than grand foresight.
“Casting about” frames Lucas as searching, not commanding. This isn’t the mythic auteur with a pre-sold universe; it’s a filmmaker feeling around in the dark, triangulating talent by hearsay. Prowse’s name-drop of A Clockwork Orange is the key credential, signaling how one edgy, prestige project can become professional currency. It also hints at a tonal mismatch: Kubrick’s cold, controlled provocation is a far cry from the fairy-tale pulp futurism Lucas was assembling. Prowse presents himself as a pragmatic pro: “of course I did.” Actors say yes because work is work, and because the industry runs on momentum more than on scripts you fully understand.
The kicker - “no one knew what the film was about!” - lands as affectionate deflation. It punctures the retrospective certainty we project onto Star Wars: that it was always obviously destined to dominate. Prowse’s subtext is that the most defining pop-cultural machines can start as a foggy pitch, held together by trust, timing, and the willingness of working artists to jump before the meaning arrives.
“Casting about” frames Lucas as searching, not commanding. This isn’t the mythic auteur with a pre-sold universe; it’s a filmmaker feeling around in the dark, triangulating talent by hearsay. Prowse’s name-drop of A Clockwork Orange is the key credential, signaling how one edgy, prestige project can become professional currency. It also hints at a tonal mismatch: Kubrick’s cold, controlled provocation is a far cry from the fairy-tale pulp futurism Lucas was assembling. Prowse presents himself as a pragmatic pro: “of course I did.” Actors say yes because work is work, and because the industry runs on momentum more than on scripts you fully understand.
The kicker - “no one knew what the film was about!” - lands as affectionate deflation. It punctures the retrospective certainty we project onto Star Wars: that it was always obviously destined to dominate. Prowse’s subtext is that the most defining pop-cultural machines can start as a foggy pitch, held together by trust, timing, and the willingness of working artists to jump before the meaning arrives.
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