It was actually George playing 5 dimensional chess when he wrote Palpatine’s home planet having a tradition of electing their monarchy.
Amazing article, 005! I agree with almost every point you made. Hopefully an article on such a high-profile site will lend some kind of legitimacy to our movement.
What could be more legitimate than the preservation of art?
Great article btw! I’ll never be able to look at the X-wing 180 shot the same way!
Make his only line a recurring “kill me…”
Do we even have a ‘best edits’ thread?!
I get a bit of tunnel vision with regards to projects unfortunately, and right now I’m trying to finish my TROS script. I know it’s not as high interest or visibility but when I see the light at the end of that tunnel I’ll be able to get back to this again 😉
I haven’t really even touched editing software in a while. I would like to foreshadow the Dyad idea, if there’s a way to do it.
http://www.framecompare.com/image-compare/screenshotcomparison/9B2MMNNU
There’s gotta be something wrong with the UHD conversion because it’s way oversaturated.
Note: I adjusted the lightsaber logistics so that Kylo’s saber is left on the wreck of Kylo’s destroyer where it is found by Thrawn and given to Hux. This will soon become relevant.
Also, by my count I’m up to 30 scenes, or half of the script.
Return of the Jedi is the best title of the series because it has three meanings.
Luke has returned to the story as a Jedi
Anakin has returned to the light
The Jedi will return to the galaxy
How come the opening crawl says that Luke Skywalker is the leader of a group of freedom fighters? He only gets lost and abandons them whenever he feels like it.
In my headcanon the Rebel leadership views Luke and his buddies as liabilities, only keeping them around because Luke and Leia are celebrities in the Rebellion.
Reveal at the end of a ANH that Tarkin was Han’s uncle all along.
They were estranged because Tarkin always wanted to know the odds.
The BBC footage is great. I would not include the cutaway to it at the end of the scene, however.
I agree about the cutaway. But the BBC footage was only 720p. Or were you talking about this footage? Beacuse this is from a Swedish documentry.
Yes, that’s what I meant.
The BBC footage is great. I would not include the cutaway to it at the end of the scene, however.
Finn stares up at the ceiling from his bunk in the captain’s quarters of the destroyer. The ship is draped in darkness as the night shift goes about their quiet work. There is a beep at the door, and Finn shifts into a sitting position, rubbing his back, and tells the visitor to enter. Poe walks over to the seat near the bed and sits. Finn asks what the problem is, and Poe answers that he can’t sleep. He realizes that he’s keeping Finn up but Finn tells him that he wasn’t asleep. Poe says that he had that feeling before entering Finn’s room. He shifts to sit on the side of the bed with Finn. He says that he can’t get any sleep in his own quarters either. He still has nightmares from his other incident on a destroyer. Finn says that he understands all too well, and reflexively rubs his back again.
With the discussion turned to Ben, Finn wonders what he and Rey are up to. Finn responds that they are probably accomplishing all sorts of miracles in the Force together, what with the strength of their connection. Detecting perhaps some regret, Poe asks if Finn had a connection with Rey. Finn says sure, but then seeing the meaning reverses course and says that they are just friends. He shifts awkwardly, and Poe tries to cover with a jab about how well he gets along with Rose. Finn agrees, but says that he’s now her commanding officer and that wouldn’t be proper. He turns away. Poe says that he hopes Finn doesn’t view him as a commanding officer, at least not here. He places his hand on Finn’s exposed back. Finn turns slowly to look at Poe.
There is another beep at the door. Poe and Finn practically leap off the bed. The door opens to reveal Rose. Breathlessly she informs them of a communication from Arkanis. As her eyes adjust to the darkness, she sees the two of them clearly. She orders them to come quickly. Finn asks if that’s any way to talk to her captain, and she says ‘Oh, and put a shirt on…Captain.’
In the comms office adjoining the bridge, Rose plays back the message. It is an image of Xindo, clearly in the comms office of another destroyer. All three look at each other, with Finn and Poe saying as one ‘The Master Codebreaker!’ He informs them of the mission to recruit the Knights of Ren and the reconditioning effort on Kylo’s fleet. He tells finally of Code Thirteen. Finn is stricken. The message ends. Poe and Rose look to Finn and ask what Code Thirteen means. He takes a moment. Finally he says that it signifies a complete failure in crew programming. Rose says that clearly their sabotage was more successful than they thought. Poe pushes Finn to say the final piece, which he does. He says that all officers and crew of the fleet, over a million enlisted men and women, will be terminated.
I still think that if you’re going to show something explicitly Hyperspace related with this weapon, it should be an effect which puts the red beam into Hyperspace. For example, the beam could be red as it exits the weapon but would turn blue and disappear as it reaches a certain distance from the weapon. I’m thinking as the beam moves past the destroyer, Kylo sees it turn blue and disappear. It might cause some distortion above Takodana if we’re using the original cut of the film, I imagine a blue distortion appearing at once from horizon to horizon as if parts of the beam are ‘leaking’ out of Hyperspace. Then it emerges fully over the Hosnian system, becoming red again.
Fantastic color.
Yes, the magically fixed saber is one of the strangest missed thematic opportunities I’ve seen in a movie.
Xindo pulls a small tablet out of his suit pocket and plugs it into a computer terminal in an alcove of the destroyer. With a few taps he has accessed the security system and takes note of the life signs moving about the halls. He unplugs the device and moves down the hall, shifting into a side corridor a moment before a group of technicians turn the far corner. They talk amongst themselves, and Xindo overhears them expressing worry about the reconditioning process. One of them feels like it’s going well, but the other fears that they are headed for a Code Thirteen. Xindo frowns, hearing this unfamiliar term. They pass and he searches the ship schematics for the reconditioning facility. He moves toward the turbolift at the end of the hall.
The turbolift stops and the doors open on a wide hall. He waits in the corner until it is clear, then quickly strolls toward a maintenance tube. He craws through the cramped passage, keeping clear of the large bundle of wires and tubes to the left. Eventually he comes to a junction and turns left. There is a small hatch which he manually rotates open, peering out onto the reconditioning room. It is a vast space situated so far forward on the destroyer that the room tapers to a point at the end. There are no level floors, just gently sloping surfaces studded with reconditioning pods. A few of the pods display green lights on their monitors, but most of them fluctuate yellow and even as he looks one of them turns red and begins beeping. An officer directs a duo of Death Troopers to the disturbance and the pod opens to a hiss of steam. The trooper in the pod emerges shaking and shouting. He sees the approaching Death Troopers and tries to escape, but they quickly subdue him with stun weapons and drag his semi-naked body away with a pair of wrist restraints. The last thing Xindo sees of the trooper is his defiant expression as he is taken away.
True.
The dagger really worked for me, in a camp way. Felt very Raiders.
Why can’t she just have innate Force powers? Her usage of the Force never felt like a mystery to be solved to me. It’s just protagonist business.
Something something Mary Sue.
To be fair, she picked it up much more quickly than anyone else in the galaxy, including the literal Chosen One.
There is actually an explanation in TLJ for this, the whole ‘darkness rises and light to meet it’. It is shown how Rey and Ben are as evenly matched as can be possible. While this might not satisfy everyone, to expect a different explanation in the final installment is a bit silly. The only thing worse than that would be to actually provide such an explanation, which would alienate those who have accepted the prior explanation as well as coming so late in the story that everyone else has already made up their minds.
In short, pulling that thread in the eleventh hour will just make a mess.
There are quite a few broken links here, but from what I can see it’s really good!
As they turn a corner they see on a large stone an alien woman crying out and gesticulating to their rickshaw. She has a small following of her own. Rey asks what she is saying, and the mayor says that the woman leads the Church of the Force here, and is saying that Rey is proof of their feeling. Rey inquires further, and the mayor says that a feeling has swept the city recently of heightened awareness. Things are brighter, the sounds clearer, life fuller. The woman has foretold the coming of the Knights of Ren and a new master to lead them. Rey grips her saber as tightly as she smiles.
They arrive at the skull to find it only part of a building shaped as a coiled serpent. It is a colossal structure, stretching into the distance in either direction. Between the multitudes of ribs are doorways in which are docked skiffs and flying devices of a multitude of varieties and sizes. The mayor asks if he should be discussing the selection of their craft with Rey or with her companion, and Rey answers that her servant is sadly blind and mute. Ben nods pitifully. The mayor then suggests that he or an experienced pilot go with them on their journey to the castle, but Rey says that this will not be necessary, only that they want the fastest craft they have. He selects for them a small craft and refuses Rey’s attempt at payment. He bows away, saying that it was an honor to be in the presence of so powerful a Jedi Master.
The small craft, a repulsorlift platform with sails and a weighted water scoop on the front, is carried to the skull and they behold the vast sweep of a cliff wall upon which they are perched. A waterfall cascades from the lower jaw of the skull to the valley below, where it winds its way into the distance. The sun is setting behind the skull, tinging everything orange and red. Rey, Ben, and R2 pile into the craft and the water scoop is cast into the waters of the river. They are pulled above the surface of the water on a ten foot cushion of air to the precipice, and their momentum flings the craft out into the air. Rey fights with the rudder as they swerve and wobble their way towards the river below. Ben pulls up the blast shield to see what is happening. They come in too hot and the bottom of the skiff goes underneath the water before bobbing back into the air. R2 is rattled and Ben is soaked. He removes his helmet and sputters. Rey masters the controls and they lower the water scoop again into the water, to be drawn along at the river’s pace while the wind is low. Rey asks how long it will take to get to the castle and Ben responds that it will be morning of the next day before they arrive.
They coast in silence for a while, then Ben breaks the silence by saying that he can’t stop thinking about what the preacher said. He feels different as well, ever since Rey brought him back. Though for him it’s an absence, not a presence. The terrible destiny that he has felt all his life, the destiny which Luke and even Leia admitted in their moments of darkness, has gone. It has been replaced by this profound absence, and Ben feels like for him it’s a chance for a new start, away from the responsibility and curse of great power. Rey wishes she could feel as he does but all that she feels is deep inadequacy at the loss of her power, and more than anything a sense of guilt that she is deceiving the galaxy in being a false hope. She is placing all her hopes on the Knights of Ren to have answers, and a way to regain that which she lost just as the Jedi of old had to recover from the cataclysm of their sin. This last she says before realizing what she is implying, but Ben understands. He puts the helmet back on and lays down on the deck as if to sleep, pulling down the blast shield once again.
Although I prefer the X-wing, The Y-wing is my brother’s favorite ship.
Fantastic necrobump btw 😃
Alfred Hitchcock said:
The silent pictures were the purest form of cinema; the only thing they lacked was the sound of people talking and the noises. But this slight imperfection did not warrant the major changes that sound brought in… In many of the films now being made, there is very little cinema: they are mostly what I call ‘photographs of people talking.’ When we tell a story in cinema, we should resort to dialogue only when it’s impossible to do otherwise.
I’m a visual/visceral artist. I enjoy crafting worlds and conveying my ideas through imagery and sound cues; I don’t enjoy writing dialogue. Much of my writing process is spent ruminating on dialogue, and it keeps me in doldrums. Some screenwriters are Tarantinos, and God bless 'em, but others are Murnaus. I’m a Murnau. Time has come for me to internalize that.
Talkies are so 1927, anyway.
I feel that. It’s one reason my Ep IX is mostly dialogue-free summarizing. Sure it’s less ‘finished’ but you could try doing something like that at least for first drafts. This would prevent a lot of re-writing dialogue later on.
I think you meant to say ‘desperate unoriginality’. And yes, despite the clever ‘all of the Sith’ angle, you would be right.