Both JJ and RJ reverse engineered the OT to figure out where to go with their part(s) of the story either in an attempt to replicate the Star Wars formula, or to deliberately starkly deviate from it at key moments, but neither feels like a good, and natural way of developing a story to me. It feels very artificial, like the writer is constantly aware someone (the audience) is watching over their shoulders, and so the entire trilogy is shaped by what the writers’ believe are the audience’s expectations, and they either chose to cater to, or subvert those expectations.
There are only 2 films I can think of in the entire saga that didn’t do the above (Star Wars, The Empire Strikes Back).
Writers are always aware the audience is watching/reading. Knowing that isn’t a bad thing. Catering to it CAN be a bad thing, depending on how indulgent the writers get. Pandering is absolutely a bad thing. But many good, natural ways of developing stories involve keeping the audience in mind. “Write for yourself first” is great advice for any storyteller, but that “First” implies that there ARE other concerns to keep in mind as well.
But creation (especially on a scale this big) isn’t all inspiration and desire. Sometimes you have to plink and plunk at it, and that can feel (or appear to be from the backseat) artificial in the moment. That’s where the craft comes in. Passion can’t get a project across the line alone. Often you have to “artificially” introduce things that didn’t just appear in a flash, hand-delivered from the muse.
But that’s also a huge part of why I feel like judging finished work mostly on suppositions of behind-the-scenes machinations and making-of anecdotes isn’t very useful. Most of the audience will never know HOW a thing got made, or what went into its making, or even think to wonder about that aspect, and it honestly shouldn’t really matter. What matters is if it works or if it doesn’t - and if it doesn’t, WHY it doesn’t should be pretty clearly explained without having to go “I bet the guy who wrote it just didn’t feel it like this other guy did.”
Granted, The Rise of Skywalker was very obviously fumbled in its execution and I imagine there are plenty of behind-the-scenes stories we’ll hear eventually as to why it’s such a mess. But acting like the very business of creating fiction is somehow “artificial” because they had knowledge of “the formula” and chose to tinker with the recipe for their own purposes seems like a weird read considering how often that exact bit of business is NECESSARY as a creator to come up with solid work.
Just because we notice the artifice involved in creating and maintaining good fiction doesn’t mean that by the mere fact of our noticing it that it’s now BAD. That’s unfair not only to the writer, but to us as well, because it assumes that we shouldn’t be smart enough to spot seams if we’re looking for them. Of course we are. Most audience members are, honestly. The magic of a good story is that it distracts us from looking, or it engenders enough goodwill that even if we do spot the seams - we don’t care. In some cases, even the seams look good to us.
Basically, what I’m saying is: The Rise of Skywalker doesn’t work because the elements IN the story aren’t well-thought-out, and aren’t executed very well on top of that. If I’m not willing to indulge an imaginative exercise as to how a fabulous movie I watched this weekend was written and executed - like, for example, I didn’t finish watching Little Women the other day and conjure up a possible story as to how Greta Gerwig adapted the book to explain why it worked the way it did - I don’t know that it makes sense for me to do that when JJ Abrams and Chris Terrio drop the ball.
I do think it’s safe to assume they didn’t MEAN to drop the ball.
Well, not all of us think they dropped the ball.
No offense, but I don’t understand how one can think that they didn’t drop the ball. To me, after seeing the movies and the lack of consistent character development, and hearing about all of the drama behind the scenes, I don’t get how one could hear and see all this and think that Disney did a great job.
I am one of the apparently large number of people who really enjoyed the film. I have yet to find any major problems with it. I liked what the characters did, and where the movie went and I loved the ending. I thought that part was perfect.
When I say they dropped the ball, I’m referring to the ST as a whole. I liked TROS a lot.
And frankly, I don’t really care what drama happens behind the scenes on a movie. Often the most drama filled productions turn out to be the best films. So many greats in cinema history have had troubled productions that it seems to be a requirement for a truly great film. And to be clear, Disney cares about the end product and I have yet to hear of any interference with either Marvel or Lucasfilm. All the good and bad things about this film have the stamp of Abrams all over them
Disney’s interference in the actual moviemaking was probably minimal, that’s correct. I’m referring to Lucasfilm obviously not having a plan, firing directors all over the place, not consulting George Lucas at all (not a huge problem tbf), and choosing to “play it safe” with every movie except for TLJ, in which of course they let Johnson do whatever he wanted.
And I found the character development in the three films to be very consistent.
I do think you’re wrong on this, but I’ve already responded to you on this before. I just don’t know how after comparing TFA and TROS to TLJ, especially with Finn, you can find any meaningful character development in TLJ, and even more so between characters. Our 3 main protagonists for the ST- Rey, Finn, and Po- aren’t in the same place for most of the movie. How are we supposed to really care about these characters when we don’t see them growing to care for each other?