Editing Raiders of the Lost Ark (section)

== Production ==
=== Conception ===
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| footer            = [[George Lucas]] in 1986 and [[Steven Spielberg]] in 1999
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[[George Lucas]] conceived ''Raiders of the Lost Ark'' in 1973, shortly after finishing the comedy drama ''[[American Graffiti]]'' (1973).<ref name="GRAdarOverview"/><ref name="timeSlambangPage1"/> An old movie poster of a heroic character leaping from a horse to a truck reminded Lucas of the early 20th-century [[serial film]]s he enjoyed as a youth, such as ''[[Buck Rogers (serial)|Buck Rogers]]'' (1939), ''[[Zorro's Fighting Legion]]'' (1939), ''[[Spy Smasher (serial)|Spy Smasher]]'' (1942) and ''[[Don Winslow of the Navy]]'' (1942).<ref name="Cinephilia"/><ref name="MovieFone"/><ref name="GRAdarOverview"/><ref name="timeSlambangPage1"/> He wanted to make a [[B movie]] modeled on those serials and conceived ''The Adventures of Indiana Smith'', featuring a daring archaeologist named after his [[Alaskan Malamute]] dog.<ref name="Cinephilia"/><ref name="GRAdarOverview"/><ref name="timeSlambangPage1"/><ref name="EmpireOralHistoryPage1"/> Around the same time, Lucas was trying to adapt the [[space opera]] serial ''[[Flash Gordon (serial)|Flash Gordon]]'' (1936), but could not obtain the rights.<ref name="Cinephilia"/><ref name="MovieFone"/><ref name="GRAdarOverview"/> He shelved the Indiana Smith project to focus on creating his own space opera, ''[[Star Wars (film)|Star Wars]]'' (1977).<ref name="Cinephilia"/><ref name="GRAdarOverview"/>

In 1975, Lucas discussed his serial film idea with his friend [[Philip Kaufman]]. The pair worked on a story for two weeks.<ref name="timeSlambangPage2"/> Lucas imagined his character as a college professor and archaeologist adventurer, based on his own appreciation for archaeology and famous archaeologists like [[Hiram Bingham&nbsp;III]], [[Roy Chapman Andrews]], and [[Leonard Woolley]].<ref name="NatGeo"/> Kaufman removed Lucas's  vision of Smith as a nightclub patron and womanizer, and suggested the [[Ark of the Covenant]] as the film's central goal,<ref name="GRAdarOverview"/><ref name="timeSlambangPage2"/> taking inspiration from hematologist Raphael Isaacs's theories on the physics of Biblical miracles.<ref>{{Cite web |last=Schick |first=Akiva |date=August 3, 2023 |title=Indiana Jones and the Meme-ification of Nazis |url=https://jewishreviewofbooks.com/uncategorized/14495/indiana-jones-and-the-meme-ification-of-nazis/ |access-date=August 10, 2023 |website=Jewish Review of Books |language=en-us}}</ref><ref>{{cite book |last1=Isaacs |first1=Raphael |last2=Isaacs |first2=Roger D. |title=Puzzling Biblical Laws Interpreted in Terms of Modern Physics |year=1965}}</ref> The Ark provided a source of conflict for the hero and the [[Nazis]], playing off Nazi leader [[Adolf Hitler]]'s historical [[Occultism in Nazism|fascination with the occult]].<ref name="EmpireMacGuffins"/><ref name="Kurlander 2017">{{Cite book |last=Kurlander |first=Eric |chapter=Exploiting Hitler’s Magic: From Weimar’s Horrors to Visions of the Third Reich |chapter-url=https://doi.org/10.12987/yale/9780300189452.003.0003 |chapter-url-access=subscription |doi=10.12987/yale/9780300189452.001.0001 |title=Hitler's Monsters: A Supernatural History of the Third Reich |year=2017 |publisher=Yale University Press |isbn=978-0-300-19037-3 |oclc=988396543 |pages=62–96 |language=en}}</ref>

Lucas wanted Kaufman to direct the film, but because he was already committed to working on the western ''[[The Outlaw Josey Wales]]'' (1976), Lucas paused the idea again and resumed working on ''Star Wars''.<ref name="GRAdarOverview"/><ref name="AVClubRetro"/> In May 1977, Lucas vacationed in Hawaii to avoid any potential negative news about the theatrical debut of ''Star Wars'', which he feared would fail at the box office. He invited [[Steven Spielberg]] to join him and his wife. On a beach near the [[Mauna Kea Beach Hotel]], Lucas and Spielberg discussed their next projects. Spielberg wanted to direct a [[James Bond film]], but Lucas [[Pitch (filmmaking)|pitched]] him ''The Adventures of Indiana Smith''.<ref name="VanityFairSpielberg"/><ref name="ASCMag"/><ref name="AFISummary"/> Lucas still hoped Kaufman would direct it, but a few months later it was clear he could not participate and Lucas asked Spielberg to replace him.<ref name="ASCMag"/>
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=== Writing ===
{{multiple image|total_width=300
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 | footer = [[Philip Kaufman]] in 1991 and [[Lawrence Kasdan]] in 2015. 
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[[Lawrence Kasdan]], Spielberg's recent discovery, was chosen to write the script. Kasdan had been working as a professional screenwriter for only a month but Lucas agreed to hire him after reading his script for ''[[Continental Divide (film)|Continental Divide]]'' (1981).<ref name="EmpireOralHistoryPage1"/><ref name="ASCMag"/> In January 1978, Lucas, Kasdan, and Spielberg spent about nine hours a day over three to five days at Lucas's  assistant's house in [[Sherman Oaks, Los Angeles]], developing Lucas's  outline.{{efn|Attributed to multiple references:<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage1"/><ref name="timeSlambangPage2"/><ref name="NewYorkerSpitball"/>}} Several ideas came from these discussions, including the boulder trap, the monkey in Cairo, Toht burning the medallion's imprint into his hand, and government agents locking the Ark away.<ref name="NewYorkerSpitball"/> Kasdan realized Spielberg and Lucas had several [[set piece]]s in mind, but they were looking for someone else to do the hard work of piecing them together.<ref name="EmpireOralHistoryPage1"/>

Spielberg hated the name Indiana Smith, believing it would remind audiences of the [[Steve McQueen]] character [[Nevada Smith]]. All three men agreed to use the surname "Jones" instead.<ref name="Cinephilia"/><ref name="NewYorkerSpitball"/> The Indiana Jones character was based on actors [[Clint Eastwood]] and [[Toshiro Mifune]], and the fictional character [[James Bond (literary character)|James Bond]].<ref name="Cinephilia"/><ref name="ASCMag"/> Lucas also wanted Jones to be a [[Kung fu (term)|kung fu]] practitioner and a [[Playboy lifestyle|playboy]], funding his lifestyle with the spoils of his adventures, but Spielberg and Kasdan felt the character was complicated enough being an adventurer and archaeologist.<ref name="Cinephilia"/><ref name="NYTimesSerials"/><ref name="NewYorkerSpitball"/> Spielberg suggested making Jones an avid gambler or an alcoholic, but Lucas wanted Jones to be a role model who is "honest and true and trusting."<ref name="Cinephilia"/><ref name="NewYorkerSpitball"/> Both men felt it was important Jones be fallible, vulnerable, and as capable of comedic moments as well as serious ones. They intended him to be someone the audience could relate to and idolize.<ref name="VanityFairSpielberg"/> Lucas suggested Marion would have a romantic past, at the age of 11, with the much older Jones; Spielberg replied, "she had better be older".<ref name="EmpireOralHistoryPage1"/>

While Spielberg directed ''[[1941 (film)|1941]]'' (1979), Kasdan used his office to write ''Raiders'', taking inspiration from early 20th-century serials and adventure films like ''[[Red River (1948 film)|Red River]]'' (1948), ''[[Seven Samurai]]'' (1954), and ''[[The Magnificent Seven]]'' (1960).<ref name="EmpireOralHistoryPage1"/><ref name="EmpireOralHistoryPage2"/> He wrote Jones as an [[antihero]], an archaeologist reduced to grave-robbing.<ref name="EmpireOralHistoryPage2"/> Kasdan wanted a supporting cast with their own unique characteristics and believed it was important these characters had a memorable impact.<ref name="EmpireOralHistoryPage2"/> He described how the hardest part of writing was explaining how Jones would fall into successive dangerous events and survive, and how he traveled between locations.<ref name="EmpireOralHistoryPage1"/> In August 1978, after approximately five months, Kasdan completed his first draft.<ref name="Cinephilia"/><ref name="GRAdarOverview"/><ref name="ASCMag"/>

Spielberg described the draft as good but too long; Kasdan and Lucas collaborated to trim and refine it.<ref name="ASCMag"/> The script was a globe-spanning tale set in the United States, Egypt, Greece, and Nepal.<ref name="Cinephilia"/> Several elements were cut, including a journey to Shanghai that would lead to a [[minecart]] chase and Jones using a [[gong]] to shield himself from gunfire, ideas later used in the prequel ''[[Indiana Jones and the Temple of Doom]]'' (1984).<ref name="MovieFone"/><ref name="EmpireOralHistoryPage1"/> To his frustration, much of Kasdan's love story between Jones and Marion was trimmed, as were scenes showing the mutual attraction between Marion and Belloq.<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage1"/><ref name="EmpireOralHistoryPage3"/> The screenplay was completed by December 1979.<ref name="ASCMag"/>

===Development and pre-production===
[[File:Frank Marshall (1117754729).jpg|thumb|alt=A photograph of producer Frank Marshall|Producer [[Frank Marshall (filmmaker)|Frank Marshall]] in 1982. As well as producing, Marshall had a minor role in the film as a Nazi pilot.]]

Lucas wanted to fund ''Raiders of the Lost Ark'' himself, but lacked the money.<ref name="Cinephilia"/> [[Lucasfilm]] offered the project to several [[Hollywood (film industry)|Hollywood]] studios. They rejected it, in part because of the proposed $20{{nbsp}}million budget,{{efn|The 1981 budget of $20{{nbsp}}million is equivalent to ${{Format price|{{Inflation|US|20000000|1981}}}} in {{Inflation/year|US}}.}} but also because of the deal Lucas offered.<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage2"/> He wanted the studio to provide the budget, have no creative input and allow him to retain control of the licensing rights and any sequels.<ref name="EmpireOralHistoryPage2"/> The studios considered this deal unacceptable.<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage2"/> They were also hesitant because Spielberg had delivered a succession of films over-schedule and over-budget;<ref name="EmpireOralHistoryPage2"/> his recent effort, ''1941'', was both over-budget and a critical failure. However, Lucas refused to do the project without Spielberg.<ref name="NYTimesSerials"/><ref name="EmpireOralHistoryPage2"/><ref name="TelegraphRetro"/>

When the project was offered to [[Paramount Pictures]], president [[Michael Eisner]] compromised with Lucas, accepting his deal in exchange for exclusive rights to any sequels and severe penalties for exceeding the schedule or budget. Lucas reportedly negotiated a salary between $1{{nbsp}}million and $4{{nbsp}}million plus a share of the gross profits, though a separate report stated he received only net profits. Spielberg received up to $1.5{{nbsp}}million as director and a share of the gross profits.<ref name="Cinephilia"/><ref name="GRAdarOverview"/>

Producer Frank Marshall, who had experience on smaller independent films, was hired because Spielberg believed he would keep the film on schedule and budget. Spielberg also hired cinematographer [[Douglas Slocombe]] and production designer [[Norman Reynolds]] because he liked their previous works, and his long-time collaborator [[Michael Kahn (film editor)|Michael Kahn]] as editor.<ref name="Cinephilia"/><ref name="ASCMag"/> Lucas served as a [[second unit]] director<ref name="EmpireOralHistoryPage3"/><ref name="timeSlambangPage4"/> and the film's executive producer, along with his acquaintance [[Howard Kazanjian]], whom Lucas believed would be a disciplined influence and not indulge the filmmakers' larger ambitions. He also brought in his long-time collaborator [[Robert Watts]] as associate producer and production manager. Paramount mandated a filming schedule of 85 days; Lucas, Spielberg, and Marshall agreed on a self-imposed 73-day schedule. Spielberg was determined to avoid criticism for another schedule overrun.<ref name="Cinephilia"/><ref name="ASCMag"/>

Six months of pre-production began in December 1979.<ref name="ASCMag"/><ref name="MentalFloss20"/> Spielberg preferred to spend a year in pre-production, but worked at a faster pace to keep the budget low.<ref name="ASCMag"/> Spielberg and Lucas were both simultaneously working on other projects.<ref name="Cinephilia"/> Artists Ed Verreaux, Dave Negron, [[Michael Lloyd (special effects artist)|Michael Lloyd]], and [[Joe Johnston]] provided extensive [[storyboard]]ing, with over 80% of the script represented, equaling approximately 6,000 images. This helped Spielberg pre-visualize scenes and limit the time taken to set up shots. The script described the opening of the ark only as "all hell breaks loose", and the artists were tasked with envisioning what should happen. Each offered different aspects: spirits, flames, and weird light effects; Johnston was tasked with combining all three.<ref name="Cinephilia"/><ref name="ASCMag"/> Spielberg also had miniature sets of larger scenes built to plan layouts and lighting, including the Well of Souls, the Tanis dig site, and the Cairo marketplace.<ref name="MentalFloss20"/> They contained 1-inch tall figurines to suggest how many extras would be required.<ref name="NYTimesAD"/> Among changes made at this stage, Spielberg abandoned his idea for Toht to have a mechanical arm that could be replaced with a machine gun or flamethrower. Lucas said it put the film into a different genre.<ref name="EmpireOralHistoryPage1"/>
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===Casting===
[[File:Tom Selleck filming Magnum P. I., Hawaii, 1984.jpg|thumb|upright|alt=A photograph of Tom Selleck|[[Tom Selleck]] was cast as Indiana Jones, but [[contractual obligations]] to the television series ''[[Magnum, P.I.]]'' forced him to withdraw.]]
Lucas wanted a relatively unknown actor, willing to commit to a trilogy of films, to play Indiana Jones.<ref name="Cinephilia"/> Those considered for the role included [[Bill Murray]], [[Nick Nolte]], [[Steve Martin]], [[Chevy Chase]], [[Tim Matheson]], [[Nick Mancuso]], [[Peter Coyote]], [[Jack Nicholson]], [[Jeff Bridges]],<ref name="MovieFone"/> [[John Shea]],<ref name="EmpireOralHistoryPage2"/> [[Sam Elliott]],<ref name="40thAnnVariety"/> [[Harry Hamlin]],<ref name="Hamlin"/> and [[David Hasselhoff]].<ref name="Hasselhoff"/> Casting director Mike Fenton favored Bridges but Lucas's wife and frequent collaborator [[Marcia Lucas]] preferred [[Tom Selleck]].<ref name="Cinephilia"/><ref name="GRAdarOverview"/> Selleck was contractually obligated to filming the television series ''[[Magnum, P.I.]]'' if it were to be made into a full series. Lucas and Spielberg asked the show's network, [[CBS]], to release him ten days early from his contract. Realizing Selleck was in demand, CBS [[greenlit]] ''Magnum P.I.'', forcing him to drop out and leaving the production with no lead actor only weeks before filming.<ref name="MovieFone"/><ref name="GRAdarOverview"/><ref name="EmpireOralHistoryPage2"/> The [[1980 actors strike]] later put the show on hiatus for three months, which would have allowed Selleck to star as Jones.<ref name="Cinephilia"/>

Spielberg said Ford was perfect for the role after seeing him in ''[[The Empire Strikes Back]]''; Kanzanjian said Ford had always been considered but not cast because he was already a well-known actor.<ref name="GRAdarOverview"/> Lucas was concerned about seeming reliant on Ford by casting him in another film after ''Star Wars'', and he also did not think he would commit to three films.<ref name="EmpireOralHistoryPage2"/> However, Ford thought it would be a fun project and agreed to the deal.<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage2"/> He negotiated a seven-figure salary, a percentage of the gross profits, and the option to re-write his dialogue.<ref name="Cinephilia"/><ref name="GRAdarOverview"/> Ford undertook extensive exercise to enhance his physique and trained for several weeks under stunt coordinator Glenn Randall to use a [[bullwhip]], becoming proficient enough to disarm the Monkey Man (Vic Tablian); his wrist had to be rehabilitated to compensate for an old injury.<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage2"/> Ford's interpretation of the character was as an academic first and an adventurer second.<ref name="EmpireOralHistoryPage2"/>

For Jones's love interest Marion, Spielberg wanted someone akin to early 20th-century leading female icons like [[Irene Dunne]], [[Barbara Stanwyck]], and [[Ann Sheridan]], who equaled their male counterparts.<ref name="VanityFairSpielberg"/> Lucas wanted [[Debra Winger]], but she was not interested, and Spielberg wanted his girlfriend [[Amy Irving]], but she was unavailable.<ref name="Cinephilia"/><ref name="GRAdarOverview"/><ref name="EW15Facts"/> They also considered [[Stephanie Zimbalist]], [[Barbara Hershey]] and [[Sean Young]].<ref name="MovieFone"/><ref name="EmpireOralHistoryPage2"/><ref name="Hamlin"/> Spielberg was aware of Karen Allen from her performance in ''[[Animal House]]'' (1978), portraying an independent female character, and she impressed him with her professionalism during auditions for ''Raiders''.<ref name="Cinephilia"/><ref name="40thannTHR"/> One of the first things Spielberg asked Allen was "how well do you spit?".<ref name="GRAdarOverview"/> Allen developed a backstory for Marion that included her mother's death and her relationship with Jones when she was 15–16, but Spielberg said it belonged in a different movie.<ref name="EmpireOralHistoryPage3"/> Kasdan named Marion after his grandmother-in-law,<ref name="EmpireOralHistoryPage3"/> and took Ravenwood from a Los Angeles street.<ref name="MentalFloss20"/>

Belloq was intended to be a sophisticated villain to counter the "beer-drinking" hero.<ref name="Cinephilia"/> Spielberg cast Freeman after seeing him in the [[docudrama]] ''[[Death of a Princess]]'' (1980); Freeman's piercing eyes had captivated him.<ref name="EmpireAlmostCast"/> [[Giancarlo Giannini]] and singer [[Jacques Dutronc]] were also considered.<ref name="EmpireOralHistoryPage2"/><ref name="EmpireAlmostCast"/> [[Danny DeVito]] was approached to portray Sallah, described as a skinny, {{cvt|5|ft|m}} tall Egyptian like Gunga Din in ''[[Gunga Din (film)|Gunga Din]]'' (1939).<ref name="EmpireOralHistoryPage2"/><ref name="EmpireAlmostCast"/> DeVito could not participate because of scheduling conflicts with his sitcom ''[[Taxi (TV series)|Taxi]]'' and because his agent wanted too much money.<ref name="GRAdarOverview"/><ref name="EmpireAlmostCast"/> Rhys-Davies was cast based on his performance in the 1980 miniseries ''[[Shōgun (1980 miniseries)|Shōgun]]''. Spielberg asked him to play the character as a mix of his ''Shōgun'' role and the character [[John Falstaff]].<ref name="GRAdarOverview"/><ref name="EmpireOralHistoryPage2"/> Ronald Lacey was cast as Toht because he reminded Spielberg of actor [[Peter Lorre]].<ref name="MovieFone"/> [[Klaus Kinski]] was offered the role but chose to appear in the horror film ''[[Venom (1981 film)|Venom]]'' (1981) because it offered more money.<ref name="MovieFone"/>

=== Filming ===
[[File:Elstree Studios - geograph.org.uk - 1184042 (cropped).jpg|left|thumb|alt=A front-facing exterior photograph of Elstree Studios|On-set filming location, [[Elstree Studios (Shenley Road)|Elstree Studios]] (pictured 2009) in Hertfordshire, England.]]

[[Principal photography]] began on June&nbsp;23, 1980.<ref name="Cinephilia"/><ref name="LucasFilmProduction"/> Filming took place on location in [[La Rochelle]] in France, [[Tunisia]] in North Africa, and Hawaii, and on sets at [[Elstree Studios (Shenley Road)|Elstree Studios]], England.<ref name="LucasFilmProduction"/><ref name="timeSlambangPage5"/> Elstree was chosen because it was well-staffed with artists and technicians who had worked on ''Star Wars''.<ref name="Cinephilia"/><ref name="EWOpening"/><ref name="ASCMag"/> On-location shooting cost around $100,000 a day in addition to crew salaries; sets cost an additional $4{{nbsp}}million. The production could afford certain equipment only for a limited time, including a [[Panaglide]] camera stabilizer for smoother shots, and a [[Crane shot|camera crane]] for higher angles.<ref name="ASCMag"/> To maintain the tight schedule, Spielberg said he "...didn't do 30 or 40 takes; usually only four... Had I had more time and money, it would have turned out a pretentious movie."<ref name="Cinephilia"/><ref name="timeSlambangPage5"/>

Filming began in La Rochelle, depicting the capture of the ''Bantu Wind'' by a Nazi U-boat.<ref name="Cinephilia"/><ref name="LucasFilmProduction"/> Watts borrowed a submarine from the war film ''[[Das Boot]]'' (1981) on condition it not be taken into deep waters.<ref name="Cinephilia"/> [[World War II]] German U-boat pens in La Rochelle represented the U-boat dock.<ref name="GRAdarOverview"/><ref name="LucasFilmProduction"/> An original coal-fired tramp steamer boat could not be found for filming, so an Egyptian boat found in an Irish port was decorated appropriately and sailed to France.<ref name="Cinephilia"/>

The production moved to Elstree Studios by June{{nbsp}}30. Interiors included the scene featuring an imam deciphering the staff headpiece and the Peruvian temple.<ref name="Cinephilia"/><ref name="EWOpening"/> There were repeated delays while filming the Well of Souls scene: there were too few snakes, a lack of anti-venom, and [[Stanley Kubrick]]'s daughter [[Vivian Kubrick|Vivian]]—who was visiting Kubrick on the set of ''[[The Shining (film)|The Shining]]''—called the [[Royal Society for the Prevention of Cruelty to Animals]] (RSPCA) about the treatment of the snakes.<ref name="Cinephilia"/> The interior of Jones's school was filmed at [[The Royal Masonic School for Girls]] in [[Rickmansworth]], in Hertfordshire; the exterior was the [[University of the Pacific (United States)|University of the Pacific]] in California.<ref name="UproxxLocations"/>

[[File:Sahara close to Tozeur (Tunisia).jpg|thumb|alt=A photograph of sand dunes in the Sahara desert near Tozeur in Tunisia|The [[Sahara desert (ecoregion)|Sahara desert]] near the [[Tozeur]] oasis in [[Tunisia]] was the location of the Tanis dig site in the film.]]

Tunisia was used to portray Egypt.<ref name="CondeNastLocations"/> Spielberg described this phase as one of his worst filming experiences: the temperature was often over {{convert|130|F|C}}, and over 150 crew members became sick with [[amoebic dysentery]] from the local food.{{efn|Attributed to multiple references:<ref name="Cinephilia"/><ref name="NYTimesSerials"/><ref name="IndependentRichards"/><ref name="ASCMag"/><ref name="MentalFloss20"/>}} Spielberg was one of the few to remain healthy because he ate food and water he brought from England.<ref name="EmpireOralHistoryPage3"/> Lucas also suffered a severe sunburn and facial swelling.<ref name="Cinephilia"/><ref name="EmpireOralHistoryPage3"/> The Cairo village was filmed in the city of [[Kairouan]].<ref name="UproxxLocations"/> A day of filming was lost there because over 300 TV antennas had to be removed from the surrounding houses.<ref name="Cinephilia"/> Budget constraints affected Spielberg's desire to have 2,000 extras as diggers; he had to settle for 600.<ref name="ASCMag"/> Stuntman Terry Richards, who portrayed the swordsman nonchalantly dispatched by Jones, spent weeks practicing sword skills for an extended fight scene. Ford was unable to perform for long periods while suffering from dysentery, and it was decided to shorten the fight scene significantly.<ref name="IndependentRichards"/> The Sidi Bouhlel canyon near the city of [[Tozeur]] is where a rocket launcher-equipped Jones confronts the Nazis for the Ark. Lucas had used the canyon in ''Star Wars'' to portray the planet [[Tatooine]].<ref name="UproxxLocations"/><ref name="CondeNastLocations"/><ref name="TravelPulseLocations"/> During the scene, a fly crawled onto Freeman's lip during his dialogue, but he continued to deliver his lines.<ref name="EmpireOralHistoryPage3"/> Although it appeared to be eaten, Freeman clarified it flew away.<ref name="FreemanFly"/>

In late September, filming moved to Hawaii for exterior shots for the film's Peruvian opening.<ref name="Cinephilia"/><ref name="UproxxLocations"/> The Paramount logo dissolving into a natural mountain was an improvisation by Spielberg based on his own childhood habit of doing the same while making films; the mountain is Kalalea Mountain on the island of [[Kauaʻi]].<ref name="EWOpening"/><ref name="MovieFone"/><ref name="MentalFloss20"/> Though the scene appears to be a single location, it was shot across 10 areas in Hawaii, including the [[Huleia National Wildlife Refuge]].<ref name="EWOpening"/><ref name="CondeNastLocations"/> It was originally more elaborate and longer, featuring an added betrayal by one of Jones's guides, resulting in a fight, and it had more dialogue; this was deemed unnecessary and removed for a tighter paced sequence.<ref name="EWOpening"/> The cave's exterior was considered a perfect location, though a nearby pool was a mosquito breeding ground; even with anti-mosquito equipment the crew was bitten.<ref name="Cinephilia"/> The donkeys used for the trek suffered [[Lameness (equine)|lameness]]. It was difficult to find replacements, and eventually, a pair of gray donkeys were painted brown with colored hairspray and flown by helicopter to the [[Nā Pali Coast State Park]] to finish the scene.<ref name="Cinephilia"/>

The loosely detailed script led to much improvisation; where the script described three people talking in a room, in the film it took place in a quarry alongside 500 extras.<ref name="EmpireOralHistoryPage3"/> Scenes like a student of Jones's flashing the "Love You" message written across her eyelids and Marion putting on a dress to conceal a weapon were also improvised.<ref name="Cinephilia"/><ref name="MentalFloss20"/> Allen believed the latter scene focused on her character seducing Belloq, undermining her loyalty and love for Jones. She and Freeman collaborated to develop the idea of Marion getting Belloq drunk instead.<ref name="40thannTHR"/> Allen, Lacey, Freeman, and Rhys-Davies often spent time together between filming to talk and discuss their characters. Allen described Ford as a private person who would not discuss his character in detail, and it took her a while to adapt to his working style.<ref name="EmpireOralHistoryPage3"/> Filming concluded in September 1980, after 73 days.<ref name="Cinephilia"/><ref name="ASCMag"/><ref name="timeSlambangPage5"/> Lucas described it as the film he had the fewest problems with because of the lack of studio interference.<ref name="EmpireOralHistoryPage3"/>

===Post-production===
Post-production lasted about two months and focused mainly on special effects and [[Pick-up (filmmaking)|pick-up]] shots.<ref name="Cinephilia"/> Spielberg's first cut was close to three hours long before he and Kahn re-edited it to just under two hours.<ref name="Cinephilia"/> Lucas was happy with this edit, but later asked if he could shorten the ending. He and Kahn collaborated on the edit; Spielberg said he was happy with their changes.<ref name="EmpireOralHistoryPage4"/> The final cut of the film runs for 115{{nbsp}}minutes.<ref name="BBFC"/> Marcia Lucas opined there was no emotional closure for Jones and Marion because she was absent following the closure of the Ark. Marcia is not credited in the film, but her suggestion led Spielberg to shoot a final exterior sequence on the steps of [[San Francisco City Hall]] showing Jones and Marion together.<ref name="UproxxLocations"/><ref name="SyFyMarcia"/>

Other changes included the addition of a scene where the Ark makes a humming noise in the ''Bantu Wind'' hold and the removal of a scene showing Jones holding on to the U-boat periscope to follow the Nazis; Spielberg thought it looked poor and hoped the audiences would not care how Jones accomplished the feat.<ref name="Cinephilia"/><ref name="MentalFloss20"/> Lucas removed a scene of a man fainting at the sight of Jones and Marion emerging from the Well of Souls because he thought the joke did not fit with the tone of the film.<ref name="EmpireOralHistoryPage1"/> Shots of the [[Douglas DC-3]] Jones and Marion use to fly out of Nepal were repurposed from the adventure film ''[[Lost Horizon (1973 film)|Lost Horizon]]'' (1973), and an establishing shot of the streets of Washington, D.C. was taken from ''[[The Hindenburg (film)|The Hindenburg]]'' (1975). Spielberg justified the use of stock footage as cost-effective, and reasoned that only sharp-eyed viewers would notice.<ref name="Cinephilia"/><ref name="timeSlambangPage4"/> Special effects supervisor [[Richard Edlund]] claimed that the street scene was done with miniatures.<ref name="Cinephilia"/>

=== Music ===
{{Main|Raiders of the Lost Ark (soundtrack)|l1=''Raiders of the Lost Ark'' (soundtrack)}}

[[John Williams]] composed the score for ''Raiders of the Lost Ark''. He said the music did not have to be serious for the film and was instead theatrical and excessive.<ref name="EmpireOralHistoryPage5"/> Williams spent a few weeks working on the Indiana Jones theme, more commonly known as "The Raiders March" that plays during the main character's heroic scenes. Two separate pieces were played for Spielberg, who wanted to use both. These pieces became the main theme and [[bridge (music)|musical bridge]] of "The Raiders March".<ref name="EmpireWilliams"/>

For the romantic theme, Williams took inspiration from older films like the drama ''[[Now, Voyager]]'' (1942) to create something more emotionally monumental that he felt would contrast well with the film's humor and lighter moments.<ref name="EmpireOralHistoryPage5"/><ref name="EmpireWilliams"/> Williams used "dark" orchestral pieces to represent the actions of the Nazis, using the "seventh [[Degree (music)|degree]] on the [[scale (music)|scale]] of the bottom". He said this signified a militaristic evil.<ref name="EmpireWilliams"/> To create something suitably biblical for the Ark of the Covenant, he used a mix of chorus and orchestra.<ref name="EmpireOralHistoryPage5"/>
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