Notes:

[8] George Lucas, without a doubt, has gotten copies of both Milius' and Stone's CONAN scripts and re-used ideas and elements in WILLOW, like the fight-love scene thing with Madmartigan and Sorsha: first they meet, then later in the tent, then on the horse, they have this strange chemistry, that forceful rejection-fight/mutual compulsion that is really attraction, which turns to love... Cause it plays out very similarly! That was used when Conan and Yasmina first met. Even the Brak/Kael connection is evident. Both are generals, Brak was a beastman - much like Kael was, when he was first concepted, again even very similarly designed - and who has a love affair with the Witch Queen. Then Milius descriptions of his Neanderthals with the sloping heavy brows again resemble Kael's final design. Madmartigan, great swordsman, thief and warrior who turns king at the end, is a very obvious take off of the Conan character, but more light hearted in tone. The death of the midwife in the beginning of the movie is directly copying the death of Conan's father with the dogs. The Madmartigan and Willow's slaves tied trek to the camp sight of General Kael in the snow covered hills/mountains is very reminiscent of the "Column of Sadness" march and the black dressed horsemen are a reminder of the Vanir. When Madmartigan is holding Sorsha on the horse, the going through the strange rock formations scene is duplicating the Cuenca Wolf Witch landscape from CONAN, but in a much exaggerated scale. The stand against Kael and his riders during the castle scene is also very similiar to the "Battle of the Mounds" setup, with finding the weapons off the dead and making traps, and the "two against many" syndrome. Madmartigan jumping on the dragon also echoes Conan's attack upon Dagoth in THE DESTROYER, when he rips out the horn by jumping on its back...
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