Someone sent me an exerpt from the book "Empire Building" that seemed interesting. Lucas was very hands-off with ESB and rarely visited the production, but in this instance he did...
There were over 60 hours of footage for ESB, obviously most was not used and probably will never see the light of day again -- if it even exists at all. But I wonder what happened to Lucas' edit of the film, did they destroy it or is it in some vault somewhere? This excerpt speaks of the great teamwork that went into making the film, and certainly these people weren't the only ones involved with making the first 2 Star Wars films.From chapter 10 "You're Ruining My Movie!"
"Paul had put together a rough assembly and it was pretty slow. George didn't like it at all," said [ANH and ESB producer Gary Kurtz]. Lucas didn't appreciate the effect the more intimate moments between Han and Leia, in particular, had on the movie's pace. "George didn't like the mushy stuff. He thought it slowed the action down," said Kurtz.
Lucas took control of the editing suite and locked himself away for two days. The clear implication was that "Supereditor" was going to save the day. When he emerged, the producer, director and editor were horrified at what he had done to the film.
"It was awful," laughed Kurtz. "It was chopped into tiny pieces and everything was fast."
When the trio objected violently Lucas merely became more agitated. "I'm on the hook for the money," he told them.
"He tried to pull a power number basically," said Kurtz.
Eventually it was [ANH and ESB editor Paul Hirsch] who talked Lucas round. When his nerves had calmed, he admitted his anger had been directed at himself as much as his team whose dedication he could not doubt. "In the end he finally realized the whole thing needed to be finessed," said Kurtz. "I think he was overwhelmed by events at the time."
Far from being a disaster, Empire was clearly shaping itself into something rather special. Days after his outburst, Lucas had admitted to the director and producer that the film was "coming together beautifully." [ESB director Irvin Kershner's] eye for detail and attention to the actors combined with [ESB cinemtographer Peter Suschitzky's] camera work, particularly in the ethereal blue of the Dagobah sequences, had lent the film its own distinct and likeable personality. "Kersh was maddening at times. He was a bit slow, but I think in the end it paid off. I have a great admiration for him," said Kurtz.