Star Wars coming to Blu Ray (UPDATE: August 30 2011, No! NOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!) — Page 234

I'm piecing together more comparisons using uploads from YouTube, etc.





The door is new, constructed of elements from the original frame. The droids have been recomposited from their original live action plate into this new one.

And unless they changed the view from the inside, this creates a huge continuity error as the door is over twice as big on the outside now and the curvature and height of the door has been changed.

I just finished Katie Lucas's tweets from her and her sycophant friends regarding the unnecessary additions to the blu-ray release, and I must say that she is a nasty-assed spoilt little celebrity (by proxy) brat! You can tell that her Father never taught her any manners, let alone decorum and dignity whilst posting online. It is such a shame that her Father was too busy tinkering away at Skywalker Ranch and ruining the best movies of all time, instead of disciplining this little brat and teaching her some manners and respect. it is after all US that lined the pockets of the Lucas empire with our hard earned cash at the end of the day, and this pathetic brat excuse for a human being should be grateful that we all paid for her education and upbringing, and are now still paying her a wage what with her writing for the Clone Wars when we buy the DVDs etc!

Uncanny Antman said:

doubleofive said:

And unless they changed the view from the inside, this creates a huge continuity error as the door is over twice as big on the outside now and the curvature and height of the door has been changed.

They just don't seem to give a shit about introducing new errors.  Cloud City windows, palace doors, rocks, droid innards...

That is one of their trademarks, going as far back as their first tweak ever made in 1981, when the revised opening caused John Williams score to not match what was on-screen.

The new angle is the fact that you cannot get Academy Award winning movies in their Academy Award winning forms. Fox releases a 75 DVD boxed set of some of their best movies, organized by decade, and one of the 70s movies is the 2004 version of Star Wars.

Awards not applicable to the Blu-rays

Jabba's new door gives me a weird feeling of motion sickness.  The angle looks all wrong.  I'd love to know if the internal shots match the new external shot.

Bester said:

Jabba's new door gives me a weird feeling of motion sickness.  The angle looks all wrong.  I'd love to know if the internal shots match the new external shot.

I'm going to post this, I typed it from the original article.

Cinefex March 1996, pg 66 said:

LUCAS:
One of the main impetuses in going ahead with the Star Wars stories at this point - aside from getting past the frustration of having four, five and six out there and not having one, two and three - is that now we’ve reached the point, technologically, where I can do so many things I could never do before. Suddenly, its like having a whole new paint set - and that’s fun.

And I’m going back and doing a special edition of Star Wars for the same reason. I’m having more fun doing that than almost anything - because its like getting a second chance. I was very frustrated with the way a lot of things in the film came out. I was embarrassed by some of the things in Star Wars - and I was embarrassed at the time I did it. I just didn’t have a way of doing it better. Being able to go back now and fix it, I can say: “Well, that was all a mistake. I didn’t mean for it to be like that. That’s the way it came out in one take. With one more take, I can really make it great.”

We have a new Jabba the Hutt that’s so much better than the old one I had to work with. I mean, that one wouldn’t act! It was just a big old rubber thing. But now I’ve got one that’s very articulate. It’s speech is fantastic - the lip-sync is great. The tongue is great, the eye movement - everything! And he walks, too. So it’s like this great thing. Suddenly, all of the constraints are lifted. It’s like you’ve been plowing fields in hundred-degree sun, with a seventy-pound backpack and lead balls chained to your ankles, and someone comes along and puts you in an air-conditioned tractor, and says, “Look, it goes real fast and you can do everything with it.” And you say: “This is great! This is fun!” You want to plow fields all day long, it’s so much fun. That’s basically what’s going on now. We’re doing the new films, and its like: “Gosh, I can have Yoda walk. I could never have Yoda walk before. And you know, I don’t have to stage scenes around R2 and 3PO anymore. I can actually make them more facile. And other characters - I can create characters that don’t have to be people in suits.” That’s where the real thrill of it all comes. That’s what’s bringing me back to doing it, in a way - just the fun of it.

On your special edition, do you expect any backlash from fan who might resent your tampering with a classic?

I don’t know. It’s my classic. On the one hand I’m doing this, while on the other I’m on the Artists Rights Board, a foundation that’s trying to protect films from being changed - which I feel very strongly about, because with the technology we have today, anybody can go back and do this kind of thing. I can sort of see the future, and I want to protect films as they are and as they should be. I don’t want to see them colorized, I don’t want to see their formats changed, I don’t want to see them reedited, and I don’t want to see what I’m able to do now, which is add more characters and do all kinds of things that nobody even contemplated before.

What I’m doing, I think, is what a lot of painters do, and some writers do - which is to go back and repaint or rewrite. Go into any artist’s studio and you’ll find lots of paintings on the wall that look completely finished and completely fine. And the artist will say, “Well, I’m leaving them there because I’m not happy with them.” If I had been an artist and a painter, and I had done Star Wars, I would have probably left it on the wall, because I wasn’t happy with it, even at the time. Everybody else was saying: “This is great! Didn’t it turn out great?” And I would say: “No, I had to compromise. It didn’t turn out the way I wanted. It fell short of what I wanted it to be.” And they would say: “What are you talking about? You must be nuts!”

Well, now they’re going to find out what I was talking about. Finally they’re going to see what it was that bugged me so much - because now I can have it be exactly the way I wanted it to be. Well, maybe not a hundred percent. But it went from being what, in my mind, was maybe sixty or seventy percent of what I wanted, up to now being about ninety-three or ninety-four percent of what I wanted it to be.

In another ten years, you can go back and get that last six percent.

Yeah, I can redo the whole thing all over again. But truly, there’s something very satisfying about having a thing not be right and always wanting to fix it, and then finally getting the chance to do it.

Now that you’ve done this with Star Wars, are you going to be able to resist the temptation to fix the other two?

I am fixing the other two. I’m doing all three of them.

haraldo23 said:

Come on, dude...


... use some paragraphs.

We have a new Jabba the Hutt that’s so much better than the old one I had to work with. I mean, that one wouldn’t act! It was just a big old rubber thing. But now I’ve got one that’s very articulate. It’s speech is fantastic - the lip-sync is great. The tongue is great, the eye movement - everything!

LOL!!!!   XoD

The '97 Jabba was a big CG turdfest.

Bester said:

We have a new Jabba the Hutt that’s so much better than the old one I had to work with. I mean, that one wouldn’t act! It was just a big old rubber thing. But now I’ve got one that’s very articulate. It’s speech is fantastic - the lip-sync is great. The tongue is great, the eye movement - everything!

 

LOL!!!!   XoD

The '97 Jabba was a big CG turdfest.

American Cinematographer said:

Remarkably, Williams and Letteri tackled the five Jabba shots at the end of 1994, prior to the ILM software group's development of the Caricature animation program. Caricature had enabled animators on Dragonheartto work with fully shaded models in real time, resulting in excellent lip-synch animation. For the Star Wars Special Edition, however, Williams was still working with the less-facile technology used on Jurassic Park andCasper. "Spaz just hand-animated all of the lip-synch because that's his style," Letteri marvels. "[Sound designer] Ben [Burtt] did the voice track first. After George approved it, Steve animated to it using Jurassic Parktechnology. He animated the mouth as if it were a hard, almost horn-like material, but with a little more flexibility."

While Williams modeled and animated Jabba, Letteri was responsible for the scene's look and lighting design. "We tend to work like a director and cinematographer," Letteri says. "My job was a bit different than that of a traditional director of photography in that I had to figure out what the inside of Jabba's mouth and his tongue looked like, and how much drool there should be on his chin. I used the original Jabba's textures for reference; the CG model was constructed differently, so we had a Viewpaint artist paint it by hand. I also did a fair amount of repainting myself, and I adapted the shaders I had designed for Jurassic's T-Rex for Jabba's skin and surface textures. I also used some new eye techniques I'd designed for Casper to give Jabba eyes like a cat's or a serpent's. That varied from the original, but I wanted something a little more organic than those glass eyes. George just said, 'Go for it!' He liked the eyes."

20th Century Mark said:

"People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians, and if the laws of the United States continue to condone this behavior, history will surely classify us as a barbaric society."

skyjedi2005 said:

I thought Matt and Trey were a bit extreme in that indiana jones south park episode, but now i see they were right on the money.

Me too. How did it come to this?