In many ways, 'William Shakespeare's Star Wars' is modeled on Shakespeare's Henry V, which relied on a chorus to explain in words the battles of Harfleur and Agincourt that could never be captured on the Elizabethan stage.

In writing 'William Shakespeare's Star Wars,' I had the freedom to go beyond the original script and add asides, soliloquys and even new scenes. The main characters all get a soliloquy or two - or in Luke's case, several.

Writing 'William Shakespeare's Star Wars' was a fun exercise in mixing just the right amount of the Bard with just the right amount of everyone's favorite galaxy far, far away.

People ask me whether I see 'Star Wars' as a comedy or a tragedy, but it's really neither - it's partly a history, like 'Henry V,' and partly a fantasy, like 'The Tempest.'

I grew up with the 'Star Wars' movies since before I have many memories. We had them on VHS back in the day, so they were part of the fabric of growing up in my family.

I always wanted Han Solo's confidence and swagger. My personality is way more C-3PO, but Han was always who I wanted to be.

The Ewoks were definitely a challenge of writing 'The Jedi Doth Return.' After having done so many things with characters who don't speak English, how was I going to make them stand out? Jedi is also rich with emotional material, particularly Darth Vader's transformation from the dark side back to the good.

I've spent so much time with iambic pentameter that I can now recognize it when I hear it in conversation or a movie - it's like a weird, useless superpower.

I had great English teachers in high school who first piqued my interest in Shakespeare. Each year, we read a different play - 'Othello,' 'Julius Caesar,' 'Macbeth,' 'Hamlet' - and I was the nerd in class who would memorize soliloquies just for the fun of it.

The hardest part of writing 'William Shakespeare's Star Wars' was probably the sheer amount of iambic pentameter and tiptoeing around certain scenes I knew would be hot-button issues for 'Star Wars' fans.