Whining about The Last Jedi is still a big red flag for me. So what, a bad movie came out that didn’t do what you wanted with a character? Move on with your life and just never acknowledge it.
The more I realize it, the more I just wish we never had sequels to ‘77.
Okay first off, I need to know the story behind your username. Anyone whose username references one of the greatest tomes to come out of the twin monasteries of Monkwearmouth-Jarrow, must have an extreme amount of class.
That was an outgrowth of a medieval manuscripts class I took in college. The name really appealed to me and I’ve been rocking it ever since.
To your Jedi question, the answer to that is blasphemous. . . You have to cut Boba Fett out of the fight, because if you do, suddenly everything works. It turns out the main villain of the Sail Barge should have been the bro with the deck gun, because he ties together Luke’s swashbuckling and Han’s skiff sinking together like a bow.
That’s exactly the kind of change I was thinking of to improve the scene. Cutting Boba out focuses the action a lot more.
I’m curious how you’ll handle the Sail Barge battle, as I’ve never been particularly keen on how it’s structured in the movie.
I mean, compare the LPP Harmy had of ROTJ against any version of 4K83. You can clearly see that one film print presents a different look from another, with the LPP being of lesser quality than the show print.
I’d be down for an alternate audio track that restores all the unused music. Hell, I’ve even thought about doing a custom mix for ESB:R that restored all the unused music for Empire.
I find it funny how the compositing error survived the 2004/11 SE and 2012/19 SE, given how much attention was paid to recompositing shots in ROTJ.
Force speed a.k.a. “A wizard did it.”
Apologies for an overused gif, it just worked too well here.
^ That’s the gist of why restoring the wall is a good idea. Too many Special Edition changes created errors in continuity and/or look terrible because ILM was experimenting.
Also, ROTJ helmets remind me of this:
It sucks that they were the look Lucasfilm went with in the SE.
Re: the dead end – I prefer its simplicity and that it’s entirely reasonable that some multi-level equipment within the Death Star would require sections of levels to be closed off. In other words, the Death Star’s design layout isn’t entirely dissimilar to the Black Mesa layout.
Re: the restoration – fantastic work, Ady! The 4K77 preservation has really improved the potential quality of despecialized segments within Revisited.
I generally accept DS9 as canon, though not many of the elements I dislike about TNG that carried over, such as the depiction of Klingons. I’m not sure if I accept Jadzia’s death and Ezri Dax’s existence as canon.
The TNG depiction of Klingons is just a slight variation on the depiction of Klingons in The Motion Picture, The Search for Spock, and The Undiscovered Country. (Except they no longer have pink blood in the 24th century I guess, and the honor culture thing gets cranked up to 11.)
I’d say the TNG Klingons are flanderized versions of the TOS film Klingons. Also TUC had the most well-rounded depiction of the Klingons.
TNG Klingons can be fantastic, but I dislike their relative lack of depth as a culture. But that’s more an inherent flaw of TNG’s writing of cultures than anything specific to the Klingons. DS9 Klingons are a little better, especially once Martok becomes a regular.
Howdy, Adywan! I’m glad to hear your health has improved and it’s fantastic to see the new edits. I guess I’ll never unsee the continuity errors in the original edit now.
As for the hallway shot, I don’t mind either the recomposite you did or reverting to the OOT shot. 4K77 might patch it well, with added shadow detail from the 4K78 print (a low-contrast color reversal internegative) and the blus for the stormtroopers and Han.
Sci-fi fans: We need fresh IP!
Rebel Moon: exists
Sci-fi fans: Not like that!
Rebel Moon is anything but fresh.
… Or good.
Exactly. Nobody knows if new IP’s are ever going to be good, and when they aren’t, it means more recycled IP’s.
Sci-fi fans: We need fresh IP!
Rebel Moon: exists
Sci-fi fans: Not like that!
It could just be that the stormtrooper squad didn’t get the info. Even in the OOT, they seemed pretty intent on killing the main characters.
I prefer lightsaber colors denoting sects of the Jedi Order/breakaways. Blue would be the mainstream faction, green would be a splinter, red would be the traditional Sith color, etc.
He wants everyone to submit to this tyrannical view of art that you have to think something is good just because it represents the artist’s vision.
He took this scene from The Producers and formed his whole philosophy of art from it.
Also, I’d love to see him watch Neil Breen’s filmography and give that same defense.
I don’t agree with the idealized view many people have of Qui-Gon. While it’s true he was more open-minded, understanding and willing to listen than the Jedi Council, he was still a fairly orthodox Jedi who followed all the rules of the Order. In my opinion, he might have delayed Anakin’s fall, but he wouldn’t have been able to prevent it entirely.
Isn’t that the point of the Xanatos character in Legends?
Worley watch! He’s doing Megalopolis apologia. I get a lot of his points (auteur theory above all else, artists should only make art for themselves, people want to tear down auteurism), but an incoherent mess is still an incoherent mess.
Technically, The Room is one of the truest examples of auteur filmmaking. But I don’t see Worley racing to Wiseau’s defense.
Superstar: The Karen Carpenter Story - even as a student, Todd Haynes made inventive and subversive biopics.
One Hand Clapping - despite being so short, was still a pretty good glimpse at the Wings sessions.
The new version just looks terrible, even compared to the HD Branch and the ‘97 version. My guess is that there were missing CGI files in the shot and thus elements had to be recreated/“restored” from inferior elements.
I’d get it if Ian didn’t like the more subtle makeup, compared to the one-piece appliance for the full dark side face. Actor comfort is a genuine concern when doing makeup.
But keep Abeloth, right?
I’m just happy you’re not citing Erich Von Däniken’s legitimately racist garbage.
They’ve been that way for a long time and it really pissed me off. They really just do not pay attention, and I think they do it because they think it’s funny and relatable to act confused. They would also do that a lot with information they’re not directly familiar with. They have an encyclopedic knowledge of certain dumb and obscure things, but the idea that Taskmaster was a popular Marvel villain, for example, gets played up into this crazy wild nerd concept for them to act baffled about. I don’t even care most of the time, it’s just annoying when they pretend like having some information or context is somehow beneath them.
If no one on the show knows what they’re talking about to fill in the others, it becomes a problem.
I’ve dropped shows and podcasts because of getting basic stuff wrong. Those fans didn’t spend hours pumping wikis full of info for people to not bother using them!
My original point with the RLM tangent was that the criticisms of the prequels were mostly correct. No one has really disagreed with that, just disliked the presentation.
Nah, the Plinkett reviews had excellent presentation and idiotic arguments.
Do you have some examples of the bad arguments? I can see how a lot of it can be less-than-convincing for some.
My original point with the RLM tangent was that the criticisms of the prequels were mostly correct. No one has really disagreed with that, just disliked the presentation.
I mean, I dislike the presentation, but the critiques are exceptionally valid. The whole bit with “the urban market” is something I’ve brought up when talking about tokenism/Hollywood racism.
But it does raise a point—if the reviews hadn’t been presented like they were, would they have been noticed to the same level?