Kershner spent several hours a day for a year storyboarding the action himself, getting his perspective on each scene and delineating its motion. Kershner tried to key his drawings to their work, then handed over his sketches to Lucas' storyboard artist for a brilliant polish. He really shot a picture that was his vision. And boy you look for it, especially in Americans. Not just a bunch of pictures all put together with people talking, but a way of seeing.
Perception has to be developed, that's where depth comes in.
I don't see it much with American directors. You do something highly personal, really different, it will either not be understood by the executives it has to go through, or will be considered noncommercial, which is to bring hell down upon you. I knew that George had been making the picture, and had his cast cut off their hair, what sounded like ridiculous stuff going on. I told John, 'I think you have to release it. And he was right.