Gary Douglas Kurtz (July 27, 1940 – September 23, 2018) was an American film producer whose list of credits includes American Graffiti (1973), Star Wars (1977), The Empire Strikes Back (1980), The Dark Crystal (1982) and Return to Oz (1985). Kurtz also co-produced the 1989 science fiction adventure film Slipstream, which reunited him with Star Wars star Mark Hamill. Early career During 1965, Kurtz was an assistant director on a Monte Hellman Western, Ride in the Whirlwind, starring Jack Nicholson for Proteus Films. He then served as production manager on Voyage to the Prehistoric Planet with Basil Rathbone and Faith Domergue for American International Pictures. Kurtz additionally worked as an assistant director and second unit director, as well as a camera operator for the second unit, on the musical comedy Beach Ball for Paramount Pictures. In 1966, Kurtz was again production manager on Queen of Blood, with John Saxon, Basil Rathbone, and Dennis Hopper, as well as acting as a sound technician on Blood Bath, both for American International Pictures. Kurtz then worked as an assistant camera operator on another Monte Hellman western, The Shooting, starring Warren Oates and Jack Nicholson, and finally wore multiple hats as production manager, assistant director, and editor on the Harry Dean Stanton-starring The Hostage, both for Crown International Pictures. Kurtz' film career was interrupted between 1966 and 1969, when he served in the U.S. Marine Corps. Raised as a Quaker, Kurtz enlisted as a conscientious objector, refusing to wear a sidearm, and served as a combat cameraman. After leaving military service, Kurtz moved up to the world of studio pictures, acting as the associate producer on the neo-noir Warren Oates-starring Chandler for Metro-Goldwyn Mayer; and Two-Lane Blacktop with Monte Hellman for Universal Pictures, both in 1971. Collaboration with George Lucas and Lucasfilm American Graffiti Gary Kurtz and George Lucas' first collaboration was on the 1973 film American Graffiti. Lucas and producer Kurtz initially took the script to American International Pictures, which expressed interest but ultimately deemed American Graffiti not violent or sexual enough by the studio's standards. The pair eventually found favor at Universal Pictures, who allowed Lucas total artistic control and the right of final cut privilege on the condition that he and Kurtz make American Graffiti on a strict, low budget. Universal initially projected a $600,000 budget, but added an additional $175,000 once producer Francis Ford Coppola signed on to co-produce with