Spaceship-shaped gallery, featuring works from Banksy, Norman Rockwell and Frida Kahlo, is devoted to ‘visual storytelling’ – and is finally ready to open

“I’m used to doing the impossible,” George Lucas said on Wednesday. But “this one almost broke my will”.

The film-maker was describing the decades of work that went into his latest project, the Lucas Museum of Narrative Art, as it was unveiled to the press in Los Angeles eight years after breaking ground, following attempts to build it in two other cities. Shaped like a spaceship and towering over the nearby University of Southern California – Lucas’s alma mater – the long-awaited institution finally opens on 22 September. It aims to be a testament to visual storytelling across all kinds of media – paintings, comics, murals, photography, sculpture.

Star Wars director calls AI technology ‘the future’ of film-making and says ‘there’s nothing you can do about it’

The Star Wars director, George Lucas, has added his voice to the growing chorus of film-makers receptive to the rising use of AI tools in moviemaking.

Speaking in an interview with A Rabbit’s Foot, Lucas, 82, said: “Artificial intelligence means it’s much easier for us to make movies.”

‘Innovative artist’, who was married to George Lucas until 1983 and worked on several Martin Scorsese films, has died from metastatic cancer

Marcia Lucas, who won an Oscar as editor of the 1977 film Star Wars and was part of a group of pioneering female editors who were essential to film’s New Hollywood era, has died aged 80.

Lucas, who was married to the Star Wars creator, George Lucas, from 1969 to 1983, died on Wednesday from metastatic cancer, her attorney Deidre Von Rock said in an email to the Associated Press.

The latest in our series of writers paying tribute to their go-to comfort films celebrates Steven Spielberg’s escapist globe-trotting adventure

The ancient Greek philosopher Lucretius writes in his epic poem On the Nature of Things: “It is comforting, when winds are whipping up the waters of the vast sea, to watch from land the severe trials of another person … it is comforting to see from what troubles you yourself are exempt.”

This feeling of living dangerously by proxy is exactly why I find it so relaxing to watch Indiana Jones in 1981’s Raiders of the Lost Ark go through an endless stream of trials and tribulations: trekking through the hot, sticky jungle. Avoiding venomous spiders and snakes. Being betrayed by not one, but two of his colleagues. Jumping over bottomless chasms and outrunning giant boulders, only to be thwarted by his arch-rival and chased by a tribe of bow-and-arrow-toting Amazonians. And that’s just the first 15 minutes of the film.

An epic account of how three demigod directors, in pursuit of indie freedom, redefined American film-making

Here we are once more: back to the glory days of the New Hollywood that emerged from the ashes of the old studio system in the 1960s and 70s. Our cast is filled with brilliant hotshots and creative risk-takers, energised by the French New Wave, the American counterculture and the industry’s own amazing entrepreneurial past.

Peter Biskind’s breezy, bleary, cynical book Easy Riders, Raging Bulls ranged freely across the 1970s, with controversial anecdotes about egos and drugs (though maybe the definitive book about the role of cocaine in film production has yet to be written). Mark Harris’s Scenes from a Revolution had the witty idea of looking at the five films Oscar-nominated for best picture in the transitional year of 1968, from the supercool Bonnie and Clyde to the squaresville Dr Doolittle, to see what they told us about America’s cinematic mind at the time.