Biografia

Fills up the movie frame with the characters' faces

Sometimes shows a robot or a cyborg being dismantled (e.g. Star Wars: Episódio V - O Império Contra-Ataca (1980) and RoboCop 2 (1990)).

Sometimes shows a character getting his own hand cut off (e.g. Star Wars: Episódio V - O Império Contra-Ataca (1980) and RoboCop 2 (1990)).

A few of his films were sequels of previous films (e.g. The Return of a Man Called Horse (1976), Star Wars: Episode V - The Empire Strikes Back (1980) and RoboCop 2 (1990)).

Frequent Use of the Color "Blue"

Of the three directors to direct the Star Wars films made between 1977 and 1983, the cast and crew have stated that he was their favorite director to work with, describing him as very helpful and supportive.

Kershner had been one of George Lucas' instructors in college. At first, he turned down the opportunity to direct Star Wars: Episódio V - O Império Contra-Ataca (1980), but his agent convinced him to take the job.

Kershner provided the voice of Darth Vader himself in the temporary mix of Star Wars: Episódio V - O Império Contra-Ataca (1980), before James Earl Jones recorded the final version.

To date (2010), only American to direct a James Bond movie--007 - Nunca Mais Outra Vez (1983)--though the film itself is technically not considered a "true" Bond film. Kershner first directed Sean Connery in Sublime Loucura (1966) 17 years earlier.

While he was directing Star Wars: Episódio V - O Império Contra-Ataca (1980)--the first Star Wars film to feature the character Yoda--he earned the nickname "Kersh". He was also filming "Empire" at the same studio Stanley Kubrick was using to film O Iluminado (1980). Stephen King was on the set and met Kershner. Years later, King wrote his novel "It" which features a character named Mrs. Kersh, who sounds like Yoda.

[on the Star Wars: Episódio IV - Uma Nova Esperança (1977) bonus DVD, speaking about Star Wars: Episódio V - O Império Contra-Ataca (1980)] I think it went beyond "Star Wars". You had some humor, you got to know the characters a little better. I saw it as the second movement in an opera. That's why I wanted some of the things slower. And it ends in a way that you can't wait to see or to hear the vivace, the allegretto. I didn't have a climax at the end. I had an emotional climax.

[on RoboCop 2 (1990)] I saw RoboCop: O Policial do Futuro (1987) twice. I saw it when it first came out and then I ran it once on cassette and that was it. I never wanted to see it again. I felt that what I remembered, the residual memory, was enough. I wanted a different style of shooting. I wanted the character to go further than they did the first time. I was working towards an emotional base that would be true to "RoboCop" one year later.

I like to fill up the frame with the characters' faces. There's nothing more interesting than the landscape of the human face.

[on why George Lucas asked him to direct Star Wars: Episódio V - O Império Contra-Ataca (1980)] Of all the younger guys around, all the hot shots, why me? I remember he said, "Well, because you know everything a Hollywood director is supposed to know, but you're not Hollywood". I liked that.

I didn't believe in Os Olhos de Laura Mars (1978). I believed in the idea I began with, but I did not believe in what was imposed on me during its production.