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Star Wars: The Rise Of Skywalker Redux Ideas thread — Page 181

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I know this might sound stupid, as something similar was suggested over on the “Worst Edit Ideas” thread, but what if, when C-3P0 got his memory erased, his voice were replaced with something flatter, like a text-to-speech? Then it would be easy to replace his dialogue with something less… Threepio. It would be like fully erasing his memory had also removed all of the personality traits he had picked up over the years and made him act like a totally different character, which would feel more like a sacrifice.

You’ve got to ask yourself one question: “Am I making Carrie Fisher’s ghost proud?”
Well, are ya, punk?

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I know a number of people have done Palpatine-less TROS edits, but it seems to me he’s integrated in the story SO much that you sort of just have to accept the glaring gaps that cutting him out entirely creates. However, has anyone played with the idea of making Palpatine a holographic message accompanying the Final Order fleet he stashed away before his (permanent, one-and-only) death?

The film could start with Kylo getting the wayfinder from Mustafar, going to Exegol…and instead of a cloning facility, he finds cultists who are just maintaining the fleet, who present him with a posthumous message from the late Emperor explaining what it is. Perhaps “it will be yours if you do as I ask” could be further recontextualized as originally intended for Vader, a fallen Luke, or Snoke.

Changing the heroes’ mission from finding Palpatine to finding the fleet would be fairly straightforward, though there would be other hurdles later on that I don’t (yet) have ideas for, the biggest one being what Rey’s doing on Exegol (if she even goes there at all), or whether the Kef Bir duel can be made into a sufficiently climactic final confrontation between her and Kylo with a satisfying resolution.

Another benefit would be that, if we only ever see Palpatine as a decades-old recording, there would be a lot more wiggle room to give him new dialogue via AI or a soundalike, and use distortion effects to mitigate the discrepancies.

EDIT: Okay, I think I have a rough-albeit-workable idea of how the third act & related stuff could go (naturally, a no-Palpatine cut would also mean Rey isn’t a Palpatine):

  1. Rey stabs Kylo during the Kef Bir duel. She then heals him, but is horrified that she stabbed him in the first place so she flees in Kylo’s TIE. The first major difference here is that before fleeing she drops the Skywalker lightsaber and leaves it behind.

  2. Kylo has a heart-to-heart with Han’s memory. He renounces the dark side, but after he throws away his crossguard lightsaber we see a new shot of his gloved hand picking up his grandfather’s lightsaber. (It doesn’t seem as controversial to most people here as the other controversial TROS elements, but personally I hate the Force teleporting objects.)

  3. Rey flees to Ahch-To, terrified by her inner darkness (which could be further strengthened beforehand if this edit goes with the “Rey killed her parents” concept). Luke gives her encouragement, minus the Palpatine stuff. Edits would need to be made to remove the Skywalker saber’s visibility; one easy thing could be to start the scene (after the island establishing shot) with her and Luke already in conversation. Luke gives her Leia’s saber not for any vague symbolic reason, but to replace the one she doesn’t have anymore.

  4. Rey flies to Exegol, laying down nav markers for the Resistance fleet just like in the official movie. She lands, and instead of confronting Palpatine she is faced with all-new Force visions (combination of recycled & modified footage & audio, new voice work for generic Sith whispers. Lot of possibilities here). Now this scene is more of a Dagobah cave-type situation, in which she’s here to confront the dark side within herself. Palpatine could easily be part of these visions (to reuse footage without him actually being back).

  5. The space battle began while all this is going on. Things look bad and the darkness is overwhelming, but Rey’s faith is restored when she connects with the Jedi spirits and/or senses that a redeemed Ben has arrived to help. She overcomes the visions, rejects the darkness, has passed the ultimate trial, and is now a true Jedi. The red guards attack her while the Knights of Ren attack Ben, and they both kick butt separately.

  6. Ben and Rey reunite, and perhaps see the Palpatine hologram one last time. Before they can discuss what happens next, an explosion rocks the arena (maybe a ship crash or a stray shot). It hurls Ben into the pit and seemingly kills Rey. Then Ben crawls out, and the rest can play out either as normal or with whatever other unrelated changes people have made (Ben lives/Ben dies, they kiss/no kiss).

Co-author of STAR WARS: THE RISE OF SKYWALKER - THE TEAM DALE REWRITE

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This is a very random out of the box idea, but was thinking it could have been interesting if it was revealed that all the Sith troopers were the original clone trooper template from the prequels, Temura Morrison. Probably no way to properly execute it in film other than perhaps giving some of them the clone distinctive audio during the final battle and perhaps finding a way to mention a clone army.

Filmic Crossroads, Daniel L. Isidore

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Error - [For some reason my post duplicated]

Filmic Crossroads, Daniel L. Isidore

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Cinefy said:

This is a very random out of the box idea, but was thinking it could have been interesting if it was revealed that all the Sith troopers were the original clone trooper template from the prequels, Temura Morrison. Probably no way to properly execute it in film other than perhaps giving some of them the clone distinctive audio during the final battle and perhaps finding a way to mention a clone army.

I found a sound bank of Republic commando sound clips. I did add some more of the grunting and yelling sounds at certain points. It isn’t obvious, but those who recognize the sounds/voice would be able to pick it up.

“Because you are a PalpaWalker?”

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Cinefy said:

This is a very random out of the box idea, but was thinking it could have been interesting if it was revealed that all the Sith troopers were the original clone trooper template from the prequels, Temura Morrison. Probably no way to properly execute it in film other than perhaps giving some of them the clone distinctive audio during the final battle and perhaps finding a way to mention a clone army.

The clearest way to indicate that would be deepfaking all the Sith Eternal officers to have his face. Might have to redub some too.

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Hey everyone, its been awhile. Back with another scene. I stumbled across this scene on youtube. It’s a fan made cgi space battle sequence of endor space. https://www.youtube.com/watch?v=ebydzJ_Bwpw

I see so many different cool and amazing cgi fan made ships/space sequences, that I always wanted to put them into exegol. So here’s a snippet which I very noob level made. I used Davinci resolve to make masks/rotoscope (i dont know the proper terms, so forgive me) the black space and put in an exegol background. I would envision this scene to pop in right after lando does his laugh when he arrives with the galaxy fleet and either before or after when Finn yells “lando you did it, you did it!!” I will very likely change the background after the first explosion when the millenium falcon is blowing up the shield dome on the star destroyer before the second explosion

https://vimeo.com/manage/videos/581678915

password: fanedit

I’m sure there are many obvious imperfections and imperfections that I missed. So please feel free to comment or if anyone is so kind to help, it is very much appreciated. Thanks for watching! enjoy!

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jadenkorr41 - love the idea, but I think there are still some masking issues right now, unfortunately. At 00:01, the sky above and below the ship line is two completely different colors (especially noticeable if you pause on the lightning strike); and at 00:03, you can tell that two different plates are sliding over one another. I’d love to see more if you can clean it up though!

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You know when Merry says “We need some Holdo maneuvers,” and Finn has an ADR line about “That shot is one in a million”? Personally, I don’t hate that line; but I know that it’s been met with some criticism elsewhere. My headcanon explanation as to why the hyperspace ram was a one-off has been that you need a really big vessel to make it impactful, and the Rebellion and the Resistance are always scraping by with what they have. (I’ve seen “Why don’t they just launch hyperspace torpedos at the Death Star” as a complaint against TLJ; but I mean…would a bullet cause just as much destruction as a rocket launcher, even if they’re going at the same speed?) That would also explain why none of the tiny civilian crafts are able to do a ram on Exegol, but another ship was able to do it elsewhere.

My thought was to change Finn’s line from “That shot is one in a million” to “Our ships aren’t big enough.” Anyone have any idea where I could pull dialogue for that line though?

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sherlockpotter said:

jadenkorr41 - love the idea, but I think there are still some masking issues right now, unfortunately. At 00:01, the sky above and below the ship line is two completely different colors (especially noticeable if you pause on the lightning strike); and at 00:03, you can tell that two different plates are sliding over one another. I’d love to see more if you can clean it up though!

Thank you for the feedback Sherlock. I really appreciate it. I just kinda assumed that no one was interested lol.

But yes, I intend to fix some the masks. It’s a lot of frames and a lot of “‘more complex than I anticipated” masks.

As for the plates sliding, I know exactly where u are talking about. My most updated version, I fixed and tightened up some frames and changed the background for the part starting at 00:03, to better match the camera movement. Stay tuned…

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I’ve been messing with the big reveal scene a little using dialogue from elsewhere in the movie and I’ve got this so far. It’s not really working as a cohesive whole but I think there’s a few bits here that could have promise.

  • I removed the actual reveal and just have Kylo poke at her insecurity re: the dark side, but Rey’s reaction and the music seem a little over-the-top for that. I did this because I intend to experiment a little with moving the lineage reveal to the previous Rey/Kylo scene but that’s probably a dead end. “Who you are… The dark side.” doesn’t really make any sense.
  • I removed Rey’s defiant “I do.” from the end in order to leave it a little more open-ended as to whether she’s actually tempted by Kylo’s offer to team-up to kill Palps or not.
  • I’ve tried to have Kylo suggest the dyad is something to do with them both being dark-siders or emotionally damaged or whatever. One of my aims with everything I’m experimenting with is to disassociate Rey’s dark-side fears from her lineage and associate them more with Kylo Ren, as I think that would better follow up TLJ and avoid rehashing ROTJ so much. I had to trim out the ‘what Palpatine doesn’t know…’ for timing though and that does become fairly important later.
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That’s pretty neat Sade1212! Though I do agree about the issue with the musical swell making the dialogue seem a little anti-climatic.
Quick recommendation and shameless plug- you might wanna check out this thread for many other takes at the same scene. It’s a bit of a brainstorming factory for different Rey Nobody related ideas and clips and there have been a couple editors (including Hal) who plan on plucking out the best approaches once they come to fruition to directly implement into their own edits.
Your contribution to the collection of clips would be very helpful.

My homeworld is Australia so be wary of timezones!
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sade1212 said:

I’ve been messing with the big reveal scene a little using dialogue from elsewhere in the movie and I’ve got this so far. It’s not really working as a cohesive whole but I think there’s a few bits here that could have promise.

  • I removed the actual reveal and just have Kylo poke at her insecurity re: the dark side, but Rey’s reaction and the music seem a little over-the-top for that. I did this because I intend to experiment a little with moving the lineage reveal to the previous Rey/Kylo scene but that’s probably a dead end. “Who you are… The dark side.” doesn’t really make any sense.
  • I removed Rey’s defiant “I do.” from the end in order to leave it a little more open-ended as to whether she’s actually tempted by Kylo’s offer to team-up to kill Palps or not.
  • I’ve tried to have Kylo suggest the dyad is something to do with them both being dark-siders or emotionally damaged or whatever. One of my aims with everything I’m experimenting with is to disassociate Rey’s dark-side fears from her lineage and associate them more with Kylo Ren, as I think that would better follow up TLJ and avoid rehashing ROTJ so much. I had to trim out the ‘what Palpatine doesn’t know…’ for timing though and that does become fairly important later.

I like how this plays, I think there’s only really two big issues, one I’m curious how the other scenes work now that you’ve cannibalized their dialogue, and two I’m not sure there’s really a big reveal moment here to match the music and Rey’s reaction (maybe there’s a way to cut that big swell?). I like cutting out “I do,” I think that works well. I think what she actually means in the film is that she’s going to kill herself rather than join him, which is an interesting idea, but the film undercuts it with the sound of the Falcon (I’ve tried to remove it but it’s not possible).

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sherlockpotter said:

Something I’ve been thinking about, based on RogueLeader’s idea for Rey to receive a vision of the Death Star when she picks up the dagger on Kylo’s ship…

It feels (to me, at least) to be the perfect moment to reveal Palpatine’s return structurally (“structurally” as in, at this point of the movie - about a third to halfway through the film). It would mean that the stakes for the film are allowed to grow naturally as it progresses - we’d have been told about the Sith Fleet ahead of time, but now we know how the Fleet came to be. It’s not just introducing some dumb power spike (like “planet-destroying Star Destroyers”) that’s never relevant to the film again; it’s a raising of the stakes that actually has relevance, and changes the scope and urgency of the mission.

Plus, it makes Grandpa Palp’s return a legitimate twist, rather than a hasty retcon for the final film.

So, how would you go about doing it?

  • In the Exegol opening, cut out most of Palpy’s dialogue. Maybe keep some vague line like “Come to me” (“Huh, what? Who said that? That sounded like Palpatine!”), or just replace the whole thing with Sith Whispers. Cut to black with a little music sting as Kylo walks off camera, to investigate Palpatine something. (“Ooh, what’s he looking at? What’s on Exegol?” Mystery, baby; that’s what.) Fade in on Rey.
  • During the Resistance Intel Meeting, trim direct references to Palpatine. Focus on the discussions about the Sith Fleet on Exegol. “It’s gonna blow us all up if we don’t find it!”
  • Rey tells Leia they have to find a way to find a Way-Finder (God, this movie…) in order to “Find Exegol. Find the Emperor.
  • Kylo Boardroom Meeting is fine. They just talk about the Sith Cultists, the Fleet, and a mysterious “he.” (Who’s “he,” you ask? It’s a mystery, baby!!)
  • In the Pasaana Skype Call, replace Kylo’s line “Palpatine wants you dead” with the later “Wherever you are, you’re hard to find.” Or, heck, just have him stare at Rey menacingly. I don’t care.
  • Move Kylo’s Palpatine conversation back to right before Endor. Or overdub the scene completely. Have Kylo talk to himself, something like, “Please, Rey. Join me. Let me find you.” Or even call back to TFA, say “Grandfather, help me find her.”
  • Slot in a shot of the Emperor during Rey’s Dagger Vision, have his laugh linger in the air after the vision fades. She whispers a disbelieving “No…” in response.
  • Replace Kylo’s next line with the previously swapped out “Palpatine wants you dead.”
  • Re-add the scene of Palps raising the Sith Fleet out of the ground to right after Rey leaves Ahch-To. He’s preparing the Fleet to depart.

The rest of it should play out exactly the same, I’m pretty sure.

So, in summary, you’d get:

  • A better structured sense of building stakes.
  • A surprising, twist Emperor reveal that’s actually built towards and hinted at, rather than a quick, “Hello, boys! I’m baaaaaaack!” in the first five minutes.
  • Gives Palpatine’s return more personal stakes to Rey, as she’s the one who discovers it…instead of Hux?
  • Palpatine’s plan doesn’t contradict itself every other scene. (Kill her! Don’t kill her! Bring her to me! No, lure her here! Oh, she’s here anyway? Kill me! You won’t? Fine, kill her! No wait, I can just suck up her life force! Ha, I’m a genius!)
  • The Sith Fleet rising is now an actual source of tension, and is a visual representation of the Fleet being ready to depart. (Shit Poe, you’ve gotta take them down now!) No more “Okay boys, you in place? Great. Just hang out here for 16 hours an arbitrary amount of time until I feel like launching the ships, cool? Maybe wait for like 20 minutes after the Resistance arrives. Then you can start leaving.”
  • Have Rey say “No…” to something actually significant while holding the Dagger, instead of *checks notes* repeating an echo of a vision of a memory of herself that the knife reminded her of? (God, this movie…)

I know that we’re trying to incorporate the Dagger-Vision angle for Ascendant, which is the first piece to all of this; but this felt like one of those “dramatic changes” that Hal probably wouldn’t jump on right away - hence my suggesting it here. But you never know, Hal…

Oh, my God… this sounds… AMAZING!!! XD

“The Dark Side of the Force is a pathway to many abilities some consider to be unnatural.”
-Sheev Palpatine, Star Wars: Revenge of the Sith (2005)

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sherlockpotter said:

You know when Merry says “We need some Holdo maneuvers,” and Finn has an ADR line about “That shot is one in a million”? Personally, I don’t hate that line; but I know that it’s been met with some criticism elsewhere. My headcanon explanation as to why the hyperspace ram was a one-off has been that you need a really big vessel to make it impactful, and the Rebellion and the Resistance are always scraping by with what they have. (I’ve seen “Why don’t they just launch hyperspace torpedos at the Death Star” as a complaint against TLJ; but I mean…would a bullet cause just as much destruction as a rocket launcher, even if they’re going at the same speed?) That would also explain why none of the tiny civilian crafts are able to do a ram on Exegol, but another ship was able to do it elsewhere.

My thought was to change Finn’s line from “That shot is one in a million” to “Our ships aren’t big enough.” Anyone have any idea where I could pull dialogue for that line though?

I like that idea. In my head canon, that’s one of the factors as to why it worked - both the Supremacy and the Resistance cruiser were big enough to make the odds of collision much more likely.

Tragedy of Vader - A Novelization of The Rise of Skywalker

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sade1212 said:

I’ve been messing with the big reveal scene a little using dialogue from elsewhere in the movie and I’ve got this so far. It’s not really working as a cohesive whole but I think there’s a few bits here that could have promise.

  • I removed the actual reveal and just have Kylo poke at her insecurity re: the dark side, but Rey’s reaction and the music seem a little over-the-top for that. I did this because I intend to experiment a little with moving the lineage reveal to the previous Rey/Kylo scene but that’s probably a dead end. “Who you are… The dark side.” doesn’t really make any sense.
  • I removed Rey’s defiant “I do.” from the end in order to leave it a little more open-ended as to whether she’s actually tempted by Kylo’s offer to team-up to kill Palps or not.
  • I’ve tried to have Kylo suggest the dyad is something to do with them both being dark-siders or emotionally damaged or whatever. One of my aims with everything I’m experimenting with is to disassociate Rey’s dark-side fears from her lineage and associate them more with Kylo Ren, as I think that would better follow up TLJ and avoid rehashing ROTJ so much. I had to trim out the ‘what Palpatine doesn’t know…’ for timing though and that does become fairly important later.

I agree Rey’s reaction might be over the top which makes you feel the mismatch, really shows on her face she’s having a revelation. Could it be moved around to have that be her response to the Dyad? Her eyes could go wide when Kylo explains they are “two that are one.”

“The ability to destroy a planet is insignificant next to the power of the Force.” - DV

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Size definitely played a part in it. The Supremacy was sliced like a knife (though the debris went crazy), so it’s clear that a collision results in a ship-sized puncture rather than completely atomizing the target as some people speculated.

There’s any number of other factors potentially at play too. The Supremacy’s shields were likely at low power or even off due to pursuing at max speed while firing volleys at their target, and the Resistance ship was close enough to collide during the start-up of a light-speed jump before properly entering hyperspace. Who knows, a second more of preparation by Hux may have foiled the whole thing.

Which is exactly why I, and others, dislike that line in TROS. As Hal9000 mentioned in his notes for his edit, the “Holdo maneuver” being extremely impractical in most combat situations should already be understood by the characters in-universe. The critical nerdy audience may say “why don’t they just do that all the time,” but the obvious answer is “because they normally can’t.” We didn’t get characters saying “why don’t we just kamikazee the Death Star at light speed” in A New Hope, and we didn’t need them to say that; they studied the building plans, they know how lightspeed works, and they came to a non-kamikazee solution based on their knowledge, and none of those details matter to the audience.

Not to mention the chipper delivery and naming of the move are horrible in context of the scene. “Why don’t we just commit a bunch of suicide bombings, like that admiral that had to make a split-second sacrificial decision in a horrible lose-lose situation? Mass suicide bombings is a good plan for us to come up with now, while we’re sitting safely at our base concocting a strategy for a future battle, with very few ships in our fleet, and no pilot droids who could do it for us, if droids’ programming even lets them do that. So who’s volunteering first?”

The line is purely an awkward, out-of-place 4th-wall wink to fans that hate that the maneuver even exists, so why even have the line at all to remind people?

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Here’s an attempt to shuffle the dyad revelation to be what causes the big swell. I also rejiggered the rest of the scene to try to fill in the void left by the dyad lines with… something.

My main issue with this is that the premise of this scene is Kylo telling Rey why Palpatine wanted her dead as a child, so there’s kind of two options here: a) have Kylo just answer with “he knew what you would become” and then keep “what Palpatine doesn’t know is…” before the dyad reveal, but this seems a bit like he’s suddenly changing subject without a satisfactory explanation, or b) what I’ve done in this mockup, where I’ve sort of implied the dyad is part of the answer to the question - but this does require some tweaking later to establish that Palpatine isn’t only just then finding out about the dyad.

Then again, the theatrical movie’s lines here aren’t exactly a satisfactory explanation of why Palpatine wanted Rey dead either: the elaboration Kylo gives originally is that Palps took issue with her having “his power” by being a Force-sensitive blood relation of his, but there’s no reasoning given as to why that necessitates death (and we do find out later that he didn’t actually want to kill her when she was a child at all!).

I’m trying to use lines that aren’t super crucial elsewhere. Most of their conversation of Pasaana is just exchanging unrelated jabs at each other so it’s reasonably easy to pick from there, for instance (I can definitely live without the line “I’m going to find you, and I’m going to turn you to the Dark Side!”).

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You know that works pretty well, although I’d pace out him saying they’re a dyad a bit so it has more weight. Would be curious to see how you cut the force duel scene (if you’ve done it).

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I think part of the reason they changed that was to not make it so Kylo was just following Palpatine’s orders. But you’re right that it does make it more complicated.

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sade1212 said:

Here’s an attempt to shuffle the dyad revelation to be what causes the big swell. I also rejiggered the rest of the scene to try to fill in the void left by the dyad lines with… something.

My main issue with this is that the premise of this scene is Kylo telling Rey why Palpatine wanted her dead as a child, so there’s kind of two options here: a) have Kylo just answer with “he knew what you would become” and then keep “what Palpatine doesn’t know is…” before the dyad reveal, but this seems a bit like he’s suddenly changing subject without a satisfactory explanation, or b) what I’ve done in this mockup, where I’ve sort of implied the dyad is part of the answer to the question - but this does require some tweaking later to establish that Palpatine isn’t only just then finding out about the dyad.

Then again, the theatrical movie’s lines here aren’t exactly a satisfactory explanation of why Palpatine wanted Rey dead either: the elaboration Kylo gives originally is that Palps took issue with her having “his power” by being a Force-sensitive blood relation of his, but there’s no reasoning given as to why that necessitates death (and we do find out later that he didn’t actually want to kill her when she was a child at all!).

I’m trying to use lines that aren’t super crucial elsewhere. Most of their conversation of Pasaana is just exchanging unrelated jabs at each other so it’s reasonably easy to pick from there, for instance (I can definitely live without the line “I’m going to find you, and I’m going to turn you to the Dark Side!”).

Lurker chiming in here, but as a Rey Nobody proponent, I like this a lot. I think it could work to just let the audience assume that these two characters who have both studied the Force (whether through Luke’s aborted academy or independently studying the ancient Jedi texts) would know there is BIG SIGNIFICANCE to the idea that a Dyad would exist. Treat it similarly to The Prophecy in the prequels – use the term and react to it without feeling the need to explain it.

One suggestion along that line: after Kylo says “I’ve been in your head. Such pain in you, such anger. The Dark Side,” is there a way to change the pronoun in the next line to “you know who we are”? That may underscore that being half of The Dyad is what is dragging her to the dark side…letting the audience piece together that The Dyad is not only a long-prophesized thing but also a force (sorry) of evil. (I’m an audience member and not an editor, so apologies if that’s not an easy change to make, especially in a line with music swelling behind it…but it stood out as a possible tweak.)

One last thing: I think it would help a bunch if the third act on Exegol could be edited in a way where Palpatine always knew of the Dyad (but, perhaps, didn’t know how much power he could get from it). The whiplash of Palpy’s plans is one of the least successful elements of a movie with many less successful elements.

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ClanVizsla said:
words

“You know who we are” is a good idea, thanks. I’ll see if I can put it together. That line is already made up from separate “you”, “know” and “who you are” clips so it might sound even more chopped up, but I like what it conveys so hopefully I can get it working. The music isn’t too much of an issue, luckily - while there is some music in the centre channel and some echoes of Kylo’s lines in the side and surround channels, they’re mostly separate enough that you can fiddle with them individually and move bits around without anything sounding too wrong.

I would also like to find a way to suggest Palpatine isn’t completely surprised by the dyad - as I understand it there’s a slightly weird bit of canon at the moment where Snoke knew about the dyad, but seems to have never told Palpatine about it (maybe he just didn’t get the chance), and I’d like to smooth that over a bit - but I haven’t tried out what’s feasible with that scene just yet. Palpatine is a more fun character when he’s at least giving the impression of having backup plans for his backup plans, rather than just getting lucky.

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Very random thought, and one I believe I’ve suggested before:

In the movie’s final scene, I think it would be interesting to create a new shot of Tatooine’s yellow sun coming over the horizon, and placing that at some point near when Rey activates her yellow lightsaber. I recall a lot of people wondering why they went with yellow for Rey’s saber color, and I think by placing the imagery of the yellow sun rising near Rey displaying her yellow lightsaber could help make the symbolism clearer. And to clarify, I think the yellow is meant represent a bright, and hopeful future, as well as Rey representing a new dawn for the Jedi.

Also, I don’t really know if I would prefer it or not, but I would be interested to see if we could change the final interaction between her and the old lady to go like this:

WOMAN: There’s been no one for so long. Who are you?

Rey looks over at the ghosts of the Skywalkers, then looks back.

REY: A Skywalker.

Or, you could still have her say “Rey Skywalker” and cut the old lady interrogating Rey and asking for her first name, last, date of birth, etc… haha. I just thought “A Skywalker” could be an interesting answer, because you could interpret it as Rey taking the last name, or that she is creating a new order called “Skywalker” and she is claiming that title. Maybe that would seem contradictory or redundant after Rey saying “I’m a Jedi” at the climax.