Development George Lucas and
Steven Spielberg had intended to make a trilogy of
Indiana Jones films since Lucas had first
pitched Raiders of the Lost Ark to Spielberg in 1977, After the mixed critical and public reaction to
Indiana Jones and the Temple of Doom, Spielberg decided to complete the trilogy to fulfill his promise to Lucas, with the intent to imbue the film with the spirit and tone of
Raiders of the Lost Ark.
Temple of Doom writers
Willard Huyck and
Gloria Katz chose not to return due to both having other commitments and feeling satisfied with their work in the second film. Throughout the film's development and
pre-production, Spielberg admitted he was "consciously regressing" in making the film. even after Lucas suggested giving it healing powers and the ability to grant immortality (much like the fictional magical power given to the Ark in the first film of the trilogy). In September 1984, Lucas completed an eight-page treatment titled
Indiana Jones and the Monkey King, which he soon followed with an 11-page outline. The story saw Indiana battling a ghost in Scotland before finding the
Fountain of Youth in Africa.
Chris Columbus—who had written the Spielberg-produced
Gremlins,
The Goonies, and
Young Sherlock Holmes—was hired to write the script. His first draft, dated May 3, 1985, changed the main plot device to a
Garden of Immortal Peaches. It begins in 1937, with Indiana battling the murderous ghost of Baron Seamus Seagrove III in Scotland. Indiana travels to
Mozambique to aid Dr. Clare Clarke (a
Katharine Hepburn-type according to Lucas), who has found a 200-year-old
pygmy. The pygmy is kidnapped by the Nazis during a boat chase, and Indiana, Clare and Scraggy Brier—an old friend of Indiana—travel up the
Zambezi river to rescue him. Indiana is killed in the climactic battle but is resurrected by the Monkey King. Other characters include a cannibalistic African tribe; Nazi Sergeant Gutterbuhg, who has a mechanical arm; Betsy, a stowaway student who is suicidally in love with Indiana; and a pirate leader named Kezure (described as a
Toshiro Mifune-type), who dies eating a peach because he is not pure of heart. and because the script was too unrealistic. Dissatisfied, Spielberg suggested introducing Indiana's father,
Henry Jones, Sr. Lucas was dubious, believing the Grail should be the story's focus, but Spielberg convinced him that the father–son relationship would serve as a great metaphor in Indiana's search for the artifact. The 1912 prologue as seen in the film refers to events in the lives of Indiana's creators. When Indiana cracks the bullwhip to defend himself against a lion, he accidentally lashes and scars his chin. Ford gained this scar in a car accident as a young man. and production designer Elliott Scott suggested the trick be done in a single, uninterrupted shot. During an undated "
Amblin Entertainment" revision and a rewrite by
Tom Stoppard (under the pen name Barry Watson) dated May 8, 1988, and created the "Panama Hat" character to link the prologue's segments featuring the young and adult Indianas. The Venetian family is cut. Kemal is renamed Kazim and now wants to protect the grail rather than find it. Chandler is renamed Donovan. The scene of Brody being captured is added. Vogel now dies in the tank, while Donovan shoots Henry and then drinks from the false grail, and Elsa falls into the chasm. The Grail trials are expanded to include the stone-stepping and leap of faith.
Filming in
Venice, whose exterior served as a library
Principal photography began on May 16, 1988, in the
Tabernas Desert in
Spain's
Almería province. Spielberg originally had planned the chase to be a short sequence shot over two days, but he drew up storyboards to make the scene an action-packed centerpiece. The
second unit had begun filming two weeks before. Spielberg, Marshall and Kennedy interrupted the shoot to make a plea to the
Parliament of the United Kingdom to support the economically "depressed" British studios. July 20–22 was spent filming the temple interiors. The temple set, which took six weeks to build, was supported on of hydraulics and ten
gimbals for use during the earthquake scene. Resetting between takes took twenty minutes while the hydraulics were put to their starting positions and the cracks filled with plaster. The shot of the Grail falling to the temple floor—causing the first crack to appear—was attempted on the full-size set, but proved too difficult. Instead, crews built a separate floor section that incorporated a pre-scored crack sealed with plaster. It took several takes to throw the Grail from onto the right part of the crack. The production had intended to film at
Mesa Verde National Park, but
Native American representatives had religious objections to its use. Filming ended on September 16, 1988, after 123 days of filming.
Design Mechanical effects supervisor
George Gibbs said the film was the most difficult one of his career. Gibbs built the tank over the framework of a
excavator and added
tracks that were driven by two automatic
hydraulic pumps, each connected to a
Range Rover V8 engine. Gibbs built the tank from steel rather than aluminum or fiberglass because it would allow the realistically
suspensionless vehicle to endure the rocky surfaces. Unlike its historic counterpart, which had only the two side guns, the tank had a turret gun added as well. It took four months to build and was transported to Almería on a
Short Belfast plane and then a low loader truck. A smaller section of the tank's top made from aluminum and which used rubber tracks was used for close-ups. It was built from a searchlight trailer, weighed eight tons, and was towed by a four-wheel drive truck. It had safety nets on each end to prevent injury to those falling off. For the villains' cars, Lantieri selected a 1914
Ford Model T, a 1919
Ford Model T truck and a 1916
Saxon Model 14, fitting each with a
Ford Pinto V6 engine. Sacks of dust were hung under the cars to create a dustier environment. . Ford was filmed in front of a bluescreen for the scene, which was completed by a model of the bridge filmed against a matte painting. Spielberg devised the three trials that guard the Grail. and was created over three months by
morphing together three puppets of Donovan created by
Stephan Dupuis in separate stages of decay, a technique ILM mastered on
Willow (1988). The film was released in select theaters in the 70 mm Full-Field Sound format, which allowed sounds to not only move from side to side, but also from the theater's
front to its rear. , on
Treasure Island, in
San Francisco,
California, served as the "Berlin Airport".
Matte paintings of the Austrian castle and the Berlin airport were based on real buildings; the Austrian castle "Schloss Brunwald" is
Bürresheim Castle near
Mayen in
Rhineland-Palatinate, West Germany, that was made to look larger. Rain was created by filming granulated
Borax soap against black at high speed. It was only lightly
double exposed into the shots so it would not resemble snow. The lightning was animated. The
Administration Building at San Francisco's
Treasure Island was used as the exterior of
Berlin Tempelhof Airport. The structure already had period-appropriate
art deco architecture, as it had been constructed in 1938 for planned use as an airport terminal. ILM added a control tower, Nazi banners, vintage automobiles and a sign stating "Berlin Flughafen". The establishing shot of the Hatayan city at dusk was created by filming silhouetted cutouts that were backlit and obscured by smoke. Matte paintings were used for the sky and to give the appearance of
fill light in the shadows and
rim light on the edges of the buildings. ==Themes==