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The Rise of Skywalker: Ascendant (Released) — Page 509

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Movies Remastered said:

I’m personally making as many extending shots to Mustafar as possible, mainly for pacing and to establish this work.

Nev, that colour is amazing! Are you motion tracking the forest in the background?

I am tracking it. Parallax is tricky, but it should work with minimal distortion when done.

JEDIT: Guys, you don’t all need to quote the image.

You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Workprint V3 Released!) and ANH Technicolor Project (Released!)

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RogueLeader said:

sherlock, could you see about moving Finn’s line about Endor to the part where Finn and Rey are working on the Falcon? If anything, maybe we could hear the beginning of Finn’s like while the camera is still in the cockpit with Poe and Chewie, like we’re doing a J-cut. The whole line doesn’t have to be used. Just whatever fits and still makes sense.

Hey, remember THIS??? From two months ago??

This is a somewhat radical idea I had, and so I feel the need to walk through my thought process (because god forbid I suggest an idea without bloviating about it for 45 minutes). If it won’t work in Ascendant, I won’t be upset. Mainly, I just want to know – does this even work, in practice? I know what I want the scene to convey; does that come across to everyone else?

What I’m thinking is: move the Kylo/Palpy Force call out of it’s current, V1 spot. (We could add in a shot from the Vehicle Flythroughs of the Star Destroyer, either before or after the Falcon is tractored into the ship, in order to pad that out.) Instead, structure the film like this: Rey escapes from Kylo -> Pryde shoots Hux -> (Another new establishing shot potentially, from the Disney+ footage) -> Reinsert the scene of Kylo -> Wipe to Hyperspace, Rey complains that, like, no one gets her, man.

Then, for that Kylo scene, get rid of the entire ADR conversation with Palps. It’s all useless, repetitive dialogue that really doesn’t progress the story at all, so who cares about that. Then, do some fancy cuts and audio mixing, and have Kylo instead be “hunting” for Rey through the Force.

  • It explains how Kylo knew they were going to Endor, which was never explained in the theatrical cut. Just like Jannah, he must have heard Babu Frik’s public broadcast.
  • It allows us to have Rey telling the group about Endor in kind of a fun, interesting way; and gives us more time in which to do so.
  • It builds on the idea that “[Kylo] and [his] Knights are going hunting for the scavenger,” which…Kylo never really does? He Skypes her a few times, and just somehow manages to find objects relevant to her location each time through pure happenstance (Pig necklace, Vader mask…). For his entire mission to find Rey, he’s always two steps behind her, which makes him completely nonthreatening and unintimidating as a villain; he just relies on luck the entire time. This way, we can explain how he keeps finding her, which retroactively makes him intimidating again. And we can use this scene to justify cutting that stupid f**king necklace tracking scene, because I still think that that’s dumb as all hell. (And that necklace scene hurts the pacing of the film anyway.)

And then I thought…if Kylo is searching all across the Force, this scene actually becomes a goldmine of possibilities; which you can read about below, because this comment is already way too long:

https://streamable.com/hh3e3r

In this example, I’ve basically made it into a three-part sequence. First, I added some Rose and Leia dialogue. I like the idea that Kylo is instinctively drawn to his mother before anyone else; I think that adds more to his internal conflict. I also like including both Rose and Leia more, so that both characters feel like they have a slightly larger presence in the film. Both new clips have been restructured from existing lines, so it’s not 1:1 with other lines the viewer will have heard. With the Leia line I used, it also helps to quickly foreshadow the ending Civilian Fleet thing – rather than having Lando rally all of their forces from across the galaxy off-screen in 15 minutes, Leia will have already sent out the call for help, and then Lando just goes to collect them, basically. (This also allows Leia to do more in the film than, er, “nothing,” which…I dunno, I like that.) Kylo also reacts to hearing his mother with a new line.

After Rose and Leia, I added some combat sounds from various sources, a couple of “Skywalker!” lines provided to me by Hal, and some all-new dialogue that I regrettably recorded myself. The idea here is that as Kylo “scans” for Rey, he picks up on some anti-First Order rebellions happening somewhere. Again, just trying to keep that “galaxy rising up” through line running across the film – first with the opening crawl, then with the new puppet show, then with the Kijimi rebellion that I still want to incorporate, then this, and then finally it all comes to a head with the Civilian Fleet at the end. All across the film, we’re just building more and more – and the stakes are getting higher and higher – before the finale. You know, almost like a “movie”! I edited the audio here to hopefully sound like Kylo is searching through multiple uprisings.

Part 3 is the Finn and Rey conversation, built out of four different dialogue lines, with some gentle re-pitching and noise cancellation filters. Throughout the new sequence, pretty much all audio has different reverb and echo effects applied, with additional layers of sound happening underneath. Music is taken from the FYC album. Hopefully it all comes together!

And overall, by stretching out this scene, it’s another chance for us to slow the pacing a little, while simultaneously building up Kylo as a character, exploring the state of the galaxy, foreshadowing the finale, and progressing Rey’s plot. Blip bloppity bloop.

So yeah, those are my thoughts/hopes for this new sequence. I’d really like it if it could work, so I’m open to suggestions. Visually, does it work? How’s the audio mix? The tempo? There are probably a lot of ways to mix the audio to make the “Force tracking” idea come through. I’m open to considering different audio effects/mixes/volume levels if people have suggestions.

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That’s an interesting approach, and I could see that working very well for that chunk of the movie. My only concern for the moment is that we’d have to do something with the transition between Rey and Finn’s conversation about her vision to BB8 stumbling onto D0, as V1 has the establishing shot of the Falcon being towed and then the Palpatine-Kylo conversation. I wouldn’t been keen on reinstating the “Chewie’s alive” spoiler scene.

I can’t even keep track anymore, but I think originally Kylo says he “knows where she’s going” as she goes to ~Endor, but I don’t think it’s ever explained how.

Well done. I will disengage self-destruct initiative.

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Oh yeah, no, keep that Chewie scene out for sure. I thought maybe we could do the tractor shot, and then a wide shot of the Destroyer, and then wipe back to the trio? Not sure how that would play out in practice.

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I think that’d be pretty abrupt. That scene has two good places to be but can’t be in both.

Well done. I will disengage self-destruct initiative.

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My guess is that Kylo was able to translate the dagger, that’s how he knew. But we’re never told that, and it’s never even hinted at. This is a pretty cool way to show how he knows.

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RogueLeader said:

My guess is that Kylo was able to translate the dagger, that’s how he knew. But we’re never told that, and it’s never even hinted at. This is a pretty cool way to show how he knows.

Yes that’s canon. I’d say it’s at least slightly hinted at since they were able to figure out so much about the Aki-Aki necklace so easily. So a Sith relic like that would be a cakewalk for whatever they’ve got in their databases (especially since they aren’t bound by laws passed by the Republic).

Tragedy of Vader - A Novelization of The Rise of Skywalker

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 (Edited)

sherlockpotter said:

Then, for that Kylo scene, get rid of the entire ADR conversation with Palps. It’s all useless, repetitive dialogue that really doesn’t progress the story at all, so who cares about that.

I think the moment the scene is placed in V1 it helps keep Palpatine as a looming threat (where in the original he just kinda vanishes for the first half of the film), and it sets up a bunch of things: Palpatine immediately starts suspecting Kylo wants to betray him, and Kylo deflects the question, which helps with the new direction we’re taking Kylo where he doesn’t want to “take the throne” and inherit the Sith legacy. Palpatine also immediatley threatens Kylo with turning the Sith fleet against him which helps explain why he’s “working for him” despite the conflicting interests.

And his answer “I know where she’s going, she’ll never be a Jedi” also builds on (and helps spell out) Rey’s struggle in the film, and it sets up their confrontation on the DSII. With the original placement of the scene the setup and payoff were pretty much immediate (or reversed in the case of the “betray Palpatine” reveal), now it’s set up early and paid off across the latter part of the film. So I think it’s a pretty useful scene.

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 (Edited)

Yeah, Burbin, I suppose I see the use in including it earlier rather than later. But I don’t think any of that is strictly “necessary,” you know? Like, Palpatine not trusting Kylo is made apparent at the end (and, I think, works better if it’s not spoiled beforehand), and Rey not being a Jedi is spelled out elsewhere.

I suppose…the Hux/Pryde scene isn’t entirely garbage on its own, honestly. If it could include just the first half, when they’re talking about how much the Knights of Ren suck, you could probably cut it before you get to the Chewie reveal. You’d just need a line for Hux to replace “we’ve captured a prisoner.” Something like “Kylo Ren can’t be trusted.” (Music sting) And then wipe to the next scene. (Helps to set up the Hux Spy angle too.) Anyone know of any good clips that might be used there?

I knew this would cause a bit of a hurdle and might require too much extra work - it’s just an idea I’ve been workshopping, which…seems like it comes across effectively? That’s good. I appreciate the feedback!

We can always just do what RL suggested, and pad out the original scene with a shot of BB-8 or something. Has anyone made any progress on the dagger recording or dagger vision?

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I’ve been away a bit but gotta day, first the Palpy scream works. I was concerned it wouldn’t have sounded like a straight rip from ROTS but it doesn’t, so its ok in my book.

The mustafar shot with the first is fantastic. Wow! It combines everything so well.

Also for the idea Sherlock is talking about, it is interesting and the idea of a more explanation on affairs can be good if done right.

“Because you are a PalpaWalker?”

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I think it is funny that Kylo apparently had to figure out where the second Wayfinder was on his own when Palpatine could’ve just told him that it was in his vault on the Death Star.

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I agree, Burbin, about the scene keeping Palptine in our consciousness, especially given the removal of “blow up a planet they like” with Pryde.

Well done. I will disengage self-destruct initiative.

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sherlockpotter said:

Yeah, Burbin, I suppose I see the use in including it earlier rather than later. But I don’t think any of that is strictly “necessary,” you know? Like, Palpatine not trusting Kylo is made apparent at the end (and, I think, works better if it’s not spoiled beforehand), and Rey not being a Jedi is spelled out elsewhere.

I don’t undermine the idea or it’s excecution, I just think when weighing either option keeping the Palpatine/Kylo interaction is more significant to the plot and characters than explaining how Kylo got to Endor, specially since as it’s been pointed out Kylo had access to the dagger and was in cahoots with Palpatine so it’s not really a hole that needs to be filled.

As for Palpatine’s relation to Kylo, I prefer it to be as separate as possible from the Master/apprentice dynamic Kylo just got away from in the last movie, it’s much more interesting to have it so that neither really trust each other (and for good reason) but they need one another. Palpatine needs Kylo’s help to end the Jedi and restore the Sith, Kylo needs Palpatine’s fleet to turn the First Order into “a true empire” and extinguish the flames of rebelion. He has to pretend to go along with Palpatine’s plans to avoid having him and his fleet turn against him, he basically has a gun to his head, so he goes to hunt Rey down as instructed while secretly planning to recruit her to take down Palpatine.

I think that’s a way better motivation for Kylo than the one in the original film, and the changes done so far have really helped push things in that angle, those include Palpatine threatening Kylo early in the film (first with the spirit transfer, and later with his fleet) so we see they’re not really on the best of terms.

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sherlockpotter said:

https://streamable.com/hh3e3r

Hmm… I’m pretty torn on this. On one hand, you did some great work on this and it would be a cool thing to let the audience know just how Kylo knew Rey and Co. were going to Endor.

On the other hand though, I’m not a huge fan of Kylo having some Cerebro-esque powers where he can search through the Force for different people. IMO, it skirts a little too close to the ridiculous shit they had in the EU (like Jedi pulling down Star Destroyers from the sky and stuff like that). Also, I don’t think the line from Kylo after he listens to Leia is necessary. Just have him be silent while he’s Force Googling and then have the ANH callback when he finally finds Rey and Finn.

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Burbin said:

sherlockpotter said:

Then, for that Kylo scene, get rid of the entire ADR conversation with Palps. It’s all useless, repetitive dialogue that really doesn’t progress the story at all, so who cares about that.

I think the moment the scene is placed in V1 it helps keep Palpatine as a looming threat (where in the original he just kinda vanishes for the first half of the film), and it sets up a bunch of things: Palpatine immediately starts suspecting Kylo wants to betray him, and Kylo deflects the question, which helps with the new direction we’re taking Kylo where he doesn’t want to “take the throne” and inherit the Sith legacy. Palpatine also immediatley threatens Kylo with turning the Sith fleet against him which helps explain why he’s “working for him” despite the conflicting interests.

And his answer “I know where she’s going, she’ll never be a Jedi” also builds on (and helps spell out) Rey’s struggle in the film, and it sets up their confrontation on the DSII. With the original placement of the scene the setup and payoff were pretty much immediate (or reversed in the case of the “betray Palpatine” reveal), now it’s set up early and paid off across the latter part of the film. So I think it’s a pretty useful scene.

Not to mention both versions of the scene help further explain why Palps wanted Ren to kill Rey: he knew Ren was conflicted, and he wanted him to get rid of that confliction so he’d be willing to perform the essence transfer ritual.

Rey Skywalker: An Arc of Self-Worth

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Hey hey! Congrats, Hal! You are never allowed to post again.

BrotherOfSasquatch, I appreciate the feedback! I wasn’t sure about Kylo’s response, so it’s good to have a second opinion on that. And I considered that “over-the-top” angle too, believe me. But I figured, all Jedi have been known to sense happenings from across the Galaxy - Luke contacted Leia more than once, Ahsoka heard Anakin’s fall, Yoda sensed Order 66 - so it felt like a slight tweak of something that’s long been established. Besides, it feels less OP than freezing blaster fire midair. (Why didn’t he ever use that power again?)

But the consensus seems to be to stick with the original Palp convo. So I guess we don’t have to worry!

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sherlockpotter said:

Hal 9000 said:

Also, sherlockpotter, did you stitch the very end of the “I am all the Sith” shot onto the end of “no match for the power in me”? If so, bravo, because I can’t tell unless I’m reverse engineering it. lol

All credit where it’s due: sade1212 is the one who did the incredible work restructuring Palp’s dialogue; I just stapled my line onto the end.

On that note, how do people think this version sounds? Like Hal said before, this line especially has to be pretty much perfect: https://streamable.com/mdw8w1

Oh, and I also nudged the timing of, and added a wee little exhale after, Rey’s “I…” to fill in the gap a bit (from removing “And-”), but that can go if people don’t like it.

In the interest of making the changes to the finale as perfect as possible, I just want to double check if anyone has any issues with the demo I shared here? If no one mentions anything, I’ll assume it’s good enough and I’ll send the audio to Hal.

Just want to make sure people had the chance to see this and weigh in with any potential criticisms, given how quickly this thread moves!

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I think that Kylo idea is really good, but the camera panning back and forth on his head is a little too much for me after the third or fourth cut. If there’s another shot that can be used/constructed or even just slowing down the ones that are there, it’d probably work fine.

For the Rey/Palpatine thing I think it’s about as good as it’s gonna get.

Castle shot looks good, need to see it in motion to have a more complete opinion

Watch Adventure Time

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sherlockpotter said:

sherlockpotter said:

Hal 9000 said:

Also, sherlockpotter, did you stitch the very end of the “I am all the Sith” shot onto the end of “no match for the power in me”? If so, bravo, because I can’t tell unless I’m reverse engineering it. lol

All credit where it’s due: sade1212 is the one who did the incredible work restructuring Palp’s dialogue; I just stapled my line onto the end.

On that note, how do people think this version sounds? Like Hal said before, this line especially has to be pretty much perfect: https://streamable.com/mdw8w1

Oh, and I also nudged the timing of, and added a wee little exhale after, Rey’s “I…” to fill in the gap a bit (from removing “And-”), but that can go if people don’t like it.

In the interest of making the changes to the finale as perfect as possible, I just want to double check if anyone has any issues with the demo I shared here? If no one mentions anything, I’ll assume it’s good enough and I’ll send the audio to Hal.

Just want to make sure people had the chance to see this and weigh in with any potential criticisms, given how quickly this thread moves!

I know there’s not a lot of space to work with, but my only note would be a slight tad more of a gap before “a scavenger girl…” If not really feasible, I’d say this works just fine.

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Who was it that did the little purple/blue flash in the saber? Is that available to grab?

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sherlockpotter said:

sherlockpotter said:

Hal 9000 said:

Also, sherlockpotter, did you stitch the very end of the “I am all the Sith” shot onto the end of “no match for the power in me”? If so, bravo, because I can’t tell unless I’m reverse engineering it. lol

All credit where it’s due: sade1212 is the one who did the incredible work restructuring Palp’s dialogue; I just stapled my line onto the end.

On that note, how do people think this version sounds? Like Hal said before, this line especially has to be pretty much perfect: https://streamable.com/mdw8w1

Oh, and I also nudged the timing of, and added a wee little exhale after, Rey’s “I…” to fill in the gap a bit (from removing “And-”), but that can go if people don’t like it.

In the interest of making the changes to the finale as perfect as possible, I just want to double check if anyone has any issues with the demo I shared here? If no one mentions anything, I’ll assume it’s good enough and I’ll send the audio to Hal.

Just want to make sure people had the chance to see this and weigh in with any potential criticisms, given how quickly this thread moves!

Is there any other source of “am” that we could use in there? I’ve been trying to figure out what the issue I have with it is, and I’ve finally realised it’s that I hear it as “I… I’m a Jedi,” which feels weird. Unless I’m the only one who hears that, I think it’s worth trying to replace that syllable so it’s clear that it’s “I… am a Jedi.”

“It’s like rhymetry. They poem.” - Leorge Gucas

The Rise of Skywalker Expanded Edition by Rae Carson: The Faraday Edit, Revenge of the Sith: The Faraday Nudge, ROTS Ultracut: Order 66, The Light Rises, Faraday Junior’s Star Wars