- these are probably just technical issues, but Rey’s “ugh” modification, and the transition from the falcon back to Rey are imperfect
Could you elaborate on what is feeling weird to you? I know it’s sometimes hard to pinpoint.
Ok I just listened to it on speakers, and it works. When I first heard it on headphones, it felt like she just fades out at the end of the ugh. But eh
That’s sort of the goal, trying to remove the guttural bit to the end of the word. I’ll try to refine.
I have some more thoughts about the opening, even if your mind seems made up, I feel like I want to throw this in here. I get that they talk about Rey and so it should cut to Rey. Then they talk about the Falcon and it should cut to the Falcon. But, eh, I just don’t feel it. Your crawl especially implies that the FO has a rebellion problem and they (and Kylo) want more resources. So here I am, watching the Exogol sequence through that lens, and they talk about Rey less in this cut, and then it makes sense to see what the rebels are up to. And, well, I just love the theatrical transition from Palpatine to the Falcon in hyperspace. Particularly the sound transition.
Well keep in mind that I need to remove the end of the scene regardless, so I can’t keep the original audio transition no matter what. I get what you mean by how I focus things in the crawl, but at least in my mind that’s another reason to cut to Rey earlier, since I didn’t get space to set her up in the crawl but still need to establish her importance early. For me, the core of these films is Kylo and Rey, so I’d like to put them both front and center.
There, we wonder why Rey is not with them, and Poe even brings that up. Then we cut to Rey and she’s training. It works better, pacing-wise, in my opinion, but maybe I’m in the minority. I just think a shot of adrenaline at that point after the Palpatine intro works better than Rey meditating, but eh.
Maybe so, and clearly JJ thought so, but I’m purposefully trying to reduce the amount of adrenaline in the first third of the film, so having the Falcon stuff later really helps that goal.
I think a lot of the confusion with the edits is alleviated through your cutting the force visions and mask assembly a lot differently from the theatrical - very good changes, by the way! I do feel like your usage of Rey’s lightning hand, while it works great in the vision, you sort of recognize that shot when that scene comes around and it’s like ‘oh, she’s gonna lightning the transport’. Maybe I’m reading into it too much, since obviously I know that she’s going to do that. Still, in theaters it felt shocking (no pun intended), while here it’s foreshadowed by the usage of that shot.
Thanks. I kind of like the inevitability of it, like we’re seeing part of her vision play out and become true so it seems like the rest could as well. I’ve tried to color the hand footage so it’s not immediately recognizable to a first time viewer as Pasaana, but hey who knows.