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Star Wars Episode I: The Phantom Menace

It is the fourth film in the Star Wars saga to be released, the first of a three-part prequel to the original Star Wars trilogy, and the first film in the saga in the story chronology.

The story also features a young Anakin Skywalker before he became a Jedi; he is introduced as a young slave boy who appears to have unusually strong nascent powers of the Force and must contend with the mysterious return of the Sith.

Despite mixed reviews by critics, who tended to praise the visuals and action sequences but criticized the writing, characterization and acting, it grossed more than US$924.3 million worldwide during its initial theatrical run, making it the second-highest-grossing film worldwide at the time—behind Titanic.

There the Jedi try but fail to persuade the Gungans to help the people of Naboo, though they are able to obtain transportation to Theed, the capital city on the surface.

After losing much of his fortune in a divorce settlement in 1987, George Lucas had no desire to return to Star Wars and had unofficially canceled his sequel trilogy by the time of Return of the Jedi.

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.

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.

Because of their short-range weapons, Gillard thought 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.

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. 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.

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.

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 , 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.

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. 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.

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. 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.

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.

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.

After Lucas opted for a drawn theatrical poster, Drew Struzan, the artist responsible for the Special Edition posters, was commissioned to illustrate, and the poster was unveiled on March 11, 1999.

Some viewed it as a concept that negates the Force's spiritual quality, although the film still portrays the Force as a mysterious entity using the midi-chlorians to communicate with living beings.

It broke The Lost World: Jurassic Park's records for the largest single-day gross for taking more than US$28 million in the opening day and fastest to gross US$100 million in five days.