NeverarGreat

Here’s a bit of a crazy idea, might be too effects-heavy, but whatever.

Cut all references to hyperspace in the Falcon approach to Starkiller (or add a line after ‘we’re making our landing approach at light speed?’ where Han says ‘Not exactly’ or something to that effect). Then the Falcon exits hyperspace right next to the beam of sunlight being sucked into the planet. The viewport is totally filled with light, blinding everyone. Han turns the ship so its underside is towards the beam, but the light is still blinding. Chewie roars.
‘If I get any higher they’ll see us!’
Suddenly they’re through, and the ground rushes up to meet them. Continue with the current version of the crash from the edit, though with the addition of steam rising from beneath the Falcon and maybe a reddish glow that starts to dissipate through contact with the snow.

This could go a long way towards fixing one of the biggest handwaves in the entire movie, since now the Falcon’s larger size and beefier shielding would be essential to surviving this mission instead of an arcane and troubling weakness of shields to hyperspace travel (Additionally it bugs me that old man Han is able to do this while the first draft of TPM established that only Jedi reflexes could pull this off). Finally, this makes use of a necessary weakness in the Starkiller’s design while highlighting something that makes this location totally unique in all of Star Wars.

RogueLeader said:

I noticed it, but I don’t think the klaxon delay is a bad thing. I think having the menacing music start in that scene works, but like I mentioned before, maybe have it cut out temporarily during the head-turn shot, and see how that feels.

This might be a stretch, but I wonder if something could possibly be put together using Unreal Engine. Using the Phasma model from battlefront, and some kind of console model, you could make a quick insert shot of her pressing a button. Having her activate a silent alarm would make her seem even more intelligent than just sounding a regular alarm, and it might be clearer that it was intentional rather than just a side effect of the shields going down.

Obviously that might be difficult but it might be worth trying. Something like a button underneath the main console, or even a button on the top that blinks after she presses it or something. Hmm, I might do more research on this.

I think not having the klaxons blare during that scene though for the sake of the dialogue being clear is a good reason. And if you don’t think “Lower the shields” would work I don’t think it is a deal breaker. The shields being lowered seems to be implied by the screen behind her anyway.

JEDIT: I think redubbing is a great idea! I think offscreen dialogue is my go-to plan for a lot of my ideas too!! And it’d be a lot easier than animating something.

The trickiest thing, whether an insert shot or the Hux update idea, would be to make it clear that Phasma is relaying more information with the silent alarm than would potentially be gleaned from just the shield going down.

Considering Hux being updated with some information, maybe this sequence of events:

Finn: ‘Solo, if this works, we’re not gonna have a lot of time to find Rey.’
Han: ‘Don’t worry kid, we won’t leave without her.’
Officer: ‘Sir!’
Hux: ‘Report’
Officer: ‘Receiving an order for all troops to block 24.’
Phasma: ‘You can’t be so stupid as to think this will be easy. My troops will storm this block and kill you all.’
Then have the garbage chute, Kylo update, and start of the alarm.

Additionally, removing the 15 minute ticking clock makes me happy because it was so transparently impossible for even the events of the original film to happen in such a timeframe.

ChainsawAsh said:

But anyway. Willow. TV show, movie, prequel, sequel - what are we thinkin’ here, folks?

I vote sequel TV series.

A sequel is almost always superior to a prequel, so that part is obvious (though I am holding my breath for that Dark Crystal show). And for small-scale fantasy, TV makes a lot of sense.

I vote sequel miniseries.

Glad y’all brought up the klaxon delay since I had meant to ask about that. The intention behind moving it was indeed to have Kylo respond to it, with the added bonus of some cleverness on the part of Phasma: she pressed the silent alarm, which allowed her to not be immediately killed by Finn and co, and which quickly turned into a widespread alarm. This is probably too much of a stretch, since for this to be clear we would need a shot of her pressing a button under the computer console before turning back around. In lieu of this I tried using the music to imply a hidden menace to her actions before the alarm proper starts, though it seems that it’s not enough/weirdly implemented.

Finn’s line is weird as well. I’ve tried to take out just the bucket bit and leave the ‘lower the shields’, but it feels off that way.

And you’re right on both counts about the delayed klaxon, RL!

JEDIT: Thinking about it some more, it might work to place the Hux update scene right after the shield lowering scene and redub the officer to say something like: ‘silent alarm triggered in section 237. The shields are down!’

Sifo Dyas said:

NeverarGreat said:

I think it’s safe to assume that any planet not in the Hoth ‘solar system’ would take years to reach on sublight engines

RoccondilRinon said:

I think the official explanation is that the Falcon (and most ships) had a backup hyperdrive, designed only to get you (slowly) to an inhabited system for repairs.

My preferred explanation is that it’s a fairly dense area of space, such that systems are closer together than in our region, and that it still probably took several months to get to Bespin. This, of course, aligns with Luke needing more than a few days’ training with Yoda.

Well I don’t know how a hyperdrive is slow, but a hyperdrive is a hyperdrive.
And if Han has it, he would use it, in a situation like that.
He didn’t even try.
The only explanation for that, that there was no backup hyperdrive. Or he is stupid, but I would dismiss that probability.
Therefore he only had sublight engines.

Which made me do the math, and it turned out that it is possible to get to Bespin from the Hoth sytem in a couple of months, using only sublight engines.
I tried to calculate the least possible distance between 2 neighboring solar systems, based on our universe.
I was thinking about possible max. speed, to calculate time needed to cover that distance, but actually it is the fuel that limits max. speed, as you can accelerate in space until you reach lightspeed.
Also a reasonable accelaration rate is needed, that makes dogfight still possible.
I calculated that they can accelerate to 5 million km/h in 38 hours at max acceleration.
Yeah, that is a lot of fuel, but with no info about it, we don’t know how much fuel they burn. Since max speed depends on fuel, which can not be calculated, therefore 5 million km/h is an educated guesstimate, but is needed to create something to calculate with.

The outer limit of the Cuiper belt, which is considered the edge of our Solar system, is 50 AU from the sun.
This distance would be a bit more than 62 days with the calculated max, speed. Still there is acceleration and deceleration, but it is around 2 months.

Our sun is not the smallest possible yellow star, so for size of solar system calculation, it needs to be taken into account, that the size of the sun of the Hoth and Bespin system, that is still a yellow star, can be smaller.
Based on data, I think 40 AU system edge is reasonable, but of course suns could be even closer, but it is good enough for rough estimation.
So a 40 AU trip with 5 million km/h would take about 50 days. Double that and we have a 100 day trip between Hoth and Bespin.

I checked the Falcon, and it has everything to accomodate a long journey like this.
And it gives Luke enough time to train on Dagobah.

It doesn’t matter how close the systems are to each other, it’s a simple matter of plot convenience.

A two-bit smuggler can’t reasonably expect to find one of his most notable compatriots in a desolate, 40 AU radius.

A vague acquaintance maybe, just not another owner of the Falcon.

exitzero said:

The antenna is kinda scraggly though, maybe replacing it with a shiny new one wouldn’t be a terrible change.

Doesn’t help that it could be mistaken for a crack in the wall, but whatever.

The Rebels barely scrape by and have to use second hand equipment. Give this guy a shiny new antenna, and some rebel soldier somewhere will have to go without a food ration. Is that really what you want?

Seeing as the helmet antennas are probably decorative, let them eat rations.

Obviously some of the effects shots are incomplete and some sound effects are still absent, like Kylo walking through the snow and the launching of the TIE fighters as Rey hides. I’m pretty happy with the order of scenes now, but if you had thoughts about the structure or the music (another work in progress) they are of course welcome.

The whispers are from TLJ when Rey first senses the Jedi tree. Since they have a sort of sinister feel I’ve incorporated them into several scenes throughout the film to highlight the idea that the Force, and more specifically the Dark Side, is calling out to her in these moments and offering her quick and easy power.

The ‘Ship’s clear’ went through a denoising pass in Audacity to remove the music, but agreed that it feels rough. If you happen across any stormtrooper dialogue that would work better that would be excellent, since I haven’t found a suitable replacement yet.

I experimented briefly with replacing the background of the Kylo shot with the Oscillator but it felt weird to have the Falcon within visual distance of the base, so my current plan is to have some subtle flashes on the underside of the clouds as if the battle is happening behind one of the closer mountain ranges.

ray_afraid said:

YeOldeFool said:

Is it possible to shorten or remove the antennae from the shot? I realize I’m probably the only one this bothers, but I thought it couldn’t hurt to ask.

That would create a continuity error with the other troops. The same kind of small errors that these edits are great at fixing, not creating.
Anyway, it’s not actually a mistake in the film, so I don’t think anything needs to change here.
And now that you know what you’re actually seeing, it shouldn’t be an issue anymore, right?

The antenna is kinda scraggly though, maybe replacing it with a shiny new one wouldn’t be a terrible change.

Doesn’t help that it could be mistaken for a crack in the wall, but whatever.

https://i.imgur.com/CtHlpS7.mp4

RogueLeader said:

Cool idea! Looks pretty good I think. I think we take for granted how a well-placed establishing shot can help buffer a scene. It’s a thought I’ve had recently while I’ve been thinking about Prequel edit ideas.

When you originally talked about it, I liked the idea of the transition from Kylo looking outside, to the dogfight, then down to Han and co. also watching the dogfight. But you should trust your judgement. I would like to see some mockups up the scene orders you’re thinking about.

When I get the Falcon scene in some presentable shape I definitely will share a mockup, as there are quite a few small changes that have been implemented since the last version.

JEDIT: Here it is

https://vimeo.com/353066606

Password: fanedit

DigMod said:

That establishing shot looks fantastic!

Thanks, it’s basically a digital version of this effect:

https://www.youtube.com/watch?v=YdHTlUGN1zw&t=3s

I cut the still image into five planes and zoomed them towards the camera at differing speeds to achieve the 3D effect. The large areas of featureless white snow helped to hide some of the seams.

jkimm said:

I really like what you’ve done with the ending. I’m wondering if it could be trimmed more and still be as effective.

After Rey is staring at R2 and BB8:
-Outdoor night shot
-R2 hooked up
-Rey sleeping
-Island establishing shot
-R2 waking up
-Closeup of Luke turning around
-3P0 informing Leia about BB8
-Luke lifts hood
-R2 displays map
-Luke staring at camera while fading to white
-Leia says “Luke”…

Only seeing Luke from Rey’s point of view might make it feel more dreamlike. Rey arriving on the island and wandering around in TLJ will be something we wouldn’t have seen before.

I have considered removing some of the wide shots like the one with Rey and Luke and the cliff on the left, and you’re right that it would probably heighten the dreamlike nature of the events, but on the other hand a lot of these shots are the best in the scene, compositionally. There’s only so much of the scene that can be removed without losing some of the essence of what made the original scene work.

After making a version with and a version without the TLJ Rey waking up shots, the version without feels much more sudden and less dreamlike. Going from the night shot, to Rey, to R2, to Rey fading into her waking up, makes for a much smoother flow into the weirdness of the Dream/Vision. It’s the difference between telling the viewer that the dream is happening and immersing them in the moment.

The new structure works for the most part. I ended up dropping the scene where Kylo talks about Rey’s power for two reasons; the first is that Rey’s powers speak for themselves at this point, and the second is that the trooper’s line was used for the Phasma conversation.
I also moved the part of the Kylo Falcon scene where he steps outside to right after Han decides to go into the Oscillator. It still needs work.

The Kylo Falcon scene still felt a bit jarring no matter where it was, so I created a new shot to introduce the scene (and give our first glimpse at the reclusive First Order speeders):

https://vimeo.com/352819835

Password: fanedit

Eh, these covers aren’t as bad as some, and in the case of TFA it’s actually better than the theatrical poster.

Yeah I dunno…maybe I should just go back to the original ending.

😉

Seriously, thanks everyone.

I thought it would be a good time to take a step back and look at the whole third act as it is now, so I rendered out a test from the Hux speech onward (I think the Restructured placement of the Hux speech is much better and works as a clear indication of the beginning of the final conflict in the film). The good news is that a lot of it works, but the bad news is that I still don’t think the Starkiller infiltration works nearly as well as it could. The Kylo on the Falcon scene seems unmotivated, and it generally feels unfocused. It’s very noticeable when comparing the infiltration and Reyscue to the Kylo/Han confrontation. Kylo needs to be more proactive in his actions. I’m also bothered by the addition of more loose threads where Phasma is concerned. So here’s a new sequence, which I will test when I get some time:

-Rey’s failed escape attempt
-Falcon flies in, crashes
-Rey’s successful escape
-Kylo discovers Rey’s absence
-Han and Finn discuss how to get in
-General Hux update
-Rey runs through the halls
-Han and co are through the doors, Finn has a plan
-Kylo is informed that sensors are triggered, worries about Rey’s power
-Rey enters the hangar
-Phasma goes to investigate, is taken out by Chewbacca and Finn orders her around
-Troopers walk past Rey hanging out on the wall
-Phasma lowers the shields but activates the silent alarm as Han and Finn discuss her fate
-Kylo is updated, is concerned about her stealing a ship, hears the alarm: ‘Han Solo’
-Hux deploys the fighters as Rey goes into hiding on the wall
-The Resistance goes in, encounters resistance
-Han and co rescue Rey, they leave the base
-Kylo searches the Falcon, notices the sun dimming, looks out at the battle
-The battle goes ill for the Resistance, Han and co decide to help
-The Oscillator is infiltrated
-Kylo arrives at the Oscillator

With this sequence, Kylo has much more information than my previous edit. Now he knows that Rey has escaped, and when the alarm is triggered he senses Han and knows that his ship is how Rey will leave. Thus he immediately goes there to wait, and since this waiting happens as Han and co are returning to the Falcon, there should be a lot more tension in the scene.

I think it’s safe to assume that any planet not in the Hoth ‘solar system’ would take years to reach on sublight engines, so unless Hoth, Bespin, and Dagobah were all in the same solar system Luke would have to have had hyperdrive on his X-wing. My headcanon is that Bespin is in the same solar system as the planet with the rebel base, and this is actually referred to as the ‘6th planet of the Hoth system’ in the movie so both the rebel base and Bespin are technically in Hoth.

Update time! The move has gone well, the new floor is not yet installed but most other things are unpacked including my workstation. So I’m back at it, still trying to nail down this ending sequence right now:

https://vimeo.com/351538137

Password: fanedit

There are a great many changes to R2 searching for the map, Rey asleep (outside this time to make it clear that she isn’t just waking up inside the base somewhere), more dreamlike island shots recut in somewhat new arrangement, and recreated sound effects for the final shots of the edit.

ziggyonice said:

Welcome back, Nev. Good luck with the move into the house and looking forward to seeing your work again.

NeverarGreat said:
There was a bit of a lull in work today though, so I tinkered around a bit (more work on the Starkiller firing) and took another stab at parallel editing the Luke dream with full dream filters:

I think parallel editing is definitely the way to go here for the maximum benefit of the music.

First of all, I absolutely agree with you that the parallel editing is the way to go. It is far more polished makes the build up with the crescendo in the music much better than in the sequential version. Some may disagree with me here, but it looks super slick.

Secondly, a few notes…

1. When Rey wakes up, I think we need to see a shot of the island from afar — maybe the ocean shots from The Last Jedi trailer? My thoughts here are that, in the current state, we see Rey wake up, but don’t have any indication that she ISN’T still on D’Qar. For all the audience knows, she was sleeping in a room with stone-lined walls to begin with at the Resistance base. So then it’s a little confusing if someone doesn’t notice the “dream effect.” Bottom line: can you fit an island shot in there, just as she wakes up and just before R2-D2 wakes up?

I definitely took these critiques into consideration with the latest version, with two fixes for it.

2. I compared this most recent edit with your previous take and I noticed you swapped the position of the scenes where C-3P0 says, “R2 has some much-needed good news.” Just my opinion, but I think the original placement was better. With the new position, Leia says “Tell me” just before we see Luke for the first time and I think it distracts from his reveal. Maybe you could put that scene just after the really wide / faraway shot of Rey climbing up the mountain?

Again, agreed on these points and the structure has been adjusted for a better flow.

3. I wish there was more music here to fit more shots in. Are you open to repeating the first couple verses of The Jedi Steps to fit in more? Like, I think it’s important that we see the map piece from BB-8 be hooked up to match the map that R2-D2 is showing. If you had just a few more seconds, I think it could be done. Any chance you might be willing to consider repeating the first ~10-15 seconds of the song? Or maybe you could use some of the extended version of the song from the suite?

That is a really cool suite, and I’m tempted to use it because of the clear changes in mood which would fit well with the parallel editing. Unfortunately it does sound like a different orchestra from the one in the film, so I’m going to stick with the original cue unless there are simply too many things to pack into it.

As for BB-8 contributing his piece of the map, that has always bugged me for several reasons. First, why would Tekka have part of the map and R2 does not? This would indicate that the entire galaxy was mapped in the time of ANH except for one small piece with the location of the Last Jedi Temple, and it’s bizarre that Tekka finds a piece that perfectly matches a map made forty years ago and downloaded from the Death Star. Second, if the entire galaxy was known to the Empire at that time except for that one piece, the New Republic should certainly know of this map forty years later and it would then be trivial to match the missing piece up to the available cartography. My reasoning for R2 showing the full map is that he could easily have downloaded that piece from BB-8 offscreen, or he could have had it fully assembled from the beginning. I kind of like the idea that R2 had the entire answer all along, and all it took was someone who would listen to BB-8 and take his idea seriously.

One last reason I’m leery of including BB-8’s contribution is that a lot of it includes Rey, and one shot in particular would have to be cut entirely due to her presence.

As always, great work. Hope to see you again soon.

Thanks!

jarbear said:

This is a good ambitious edit, and I understand that much of your time right now is working on a house. Totally get it!

As for this recent clip, I see you got some work cut out for ya to remove the time stamp and Rey in the “Map” room.

You notice that I’m saving that fun-filled activity until the end 😉

after watching it a few times, I like the direction it is going. I appreciate the scene effect during her “Vision Dream.”

I am not a skilled editer, but I am curious if maybe instead of that effect you did, would it be possible to add a little more of a grain affect as well as changing the coloring in those scenes? Maybe less color and more of a sepia or something that shows this is indeed a vision?

I’ve tried adding a horizontal blur to several of the shots to indicate the insubstantial nature of this vision, and given Luke’s shots in particular a brighter grade which serves to desaturate the colors.

Also, earlier during Rey’s Vision during the lightsaber touch at Maz’s castle can have the same effect so it will accomplish two things: 1.) these force visions have the same “effect” on the screen and 2.) we know Rey is having some kind of vision at the end with Luke on the island.

That’s an interesting idea, I may try a vignette and see how it looks.

DrDre said:

yotsuya said:

DrDre said:

SilverWook said:

MikeWW said:

SilverWook said:

A puppet being operated by the real villain?

But why have a dime store Palpatine if the plan all along was to use the real thing?

Because that’s how Palpatine operates. Masks, deceptions and lies. Snoke was just a more sophisticated version of wearing a hood and keeping his face in a strategically placed shadow.

That’s a nice in-universe explanation, but in reality it’s almost certain, that JJ intended for Snoke to be the big bad, and when RJ dispatched him, they had to bring back Palpatine in some form to up the ante. Had it been their intention to bring back Palpatine, they would logically have introduced him as the puppet master in a cameo at the end of TLJ. Additionally RJ clearly made TLJ with the intention to break free from what came before, whilst TROS seems to do the opposite promising a whole host of connections to the past.

I have to disagree with your interpretation of TLJ. That is the message that hermit Luke and Kylo Ren share. Both are proved wrong by the rest of the movie’s plot. The end of the movie is about embracing exactly what Luke said they didn’t need before Rey and Yoda brought him back to himself. And Kylo is trying desperately to be bad and be consumed by the dark side and yet he can’t seem to manage it. He’s trying to convince himself that he needs to destroy the past so he can be bad enough. But that is not RJ’s message in TLJ. Luke executes the very single handed battle with his lasersword against incredible odds and creates a legend, reminding Kylo and us that he will not be the last Jedi - meaning he is embracing the past and letting it carry forward. Quite the opposite of breaking free from what came before. And there is no hint that JJ is going to undo anything.

I disagree. TLJ spends most of its time deconstructing the mythology of Star Wars. It then reconstructs it in some form, but not by embracing the past. Luke’s last stand is not a reaffirmation of the reality of his legend in-universe, it is a ruse, which tells the audience, that legends and myths aren’t real, but they can serve a purpose when others choose to believe in them. This is in stark contrast to the OT, where the legend of Luke Skywalker is real in-universe. The Luke of the OT is the guy who really faces down the bad guys with his laser sword, whereas the Luke at the end of TLJ is an illusionist of sorts, intent on perpetuating a legend in-universe, while the viewer has been made aware it is all just smoke and mirrors.

This brings up the question of what Luke’s legend actually was, in universe, after the events of ROTJ.

Is Luke a Jedi and hero who can singlehandedly dispatch an AT-AT with a lightsaber and who blew up the Death Star, who defeated not only Vader but the Emperor in a single stroke? If so, I can see Luke wanting to distance himself from this story since it is rather deceptive.

Or is Luke in the minds of the people more of an aspirational figure whom they know is all-too human, and who only managed to topple an empire due to his compassion and loyalty helped by his powerful friends and family? This is a legend he would probably embrace but it isn’t as alluring to the everyday person so I would bet that most of the galaxy thinks of him as the Jedi superman.

So I think it’s very apt that Luke would act as an illusionist in embracing this admittedly false legend in TLJ. Luke doesn’t ultimately use the lightsaber to defeat his enemies, he throws it away in favor of a more compassionate, human approach. This is now lost to the galaxy in favor of his newly-affirmed legend of Jedi superman, and could be a sinister turn for his legacy and history.

What bothers me about the name, upon reflection, is that the now-cannon explanation basically establishes that Solo in the Star Wars universe actually means “alone” instead of being merely a series of sounds/letters which in English has an extra meaning.

I mean, realistically these characters wouldn’t be speaking English, but instead some alien dialect which is portrayed as English for the purposes of movie. Now for this to work, Han’s last name must translate to ‘lone wolf’ or something in that alien dialect and sound like an English word which has a similar meaning.

How very confusing.

I’d hazard a guess that most people view ROTS as having more ‘Star Wars stuff we wanted to see’ in it than the other prequels (Vader, Rise of the Empire, Anakin’s seduction to the Dark Side, Anakin and Obi-wan’s friendship), and so by proxy it becomes the best of the prequels.

I fall into the camp of liking TPM the most, simply because it is dissimilar enough from the OT to be its own thing.

Thanks, the past week has been nothing but work but the house is looking good with the painting almost done and the packing well underway.

There was a bit of a lull in work today though, so I tinkered around a bit (more work on the Starkiller firing) and took another stab at parallel editing the Luke dream with full dream filters:

https://vimeo.com/348521687

Password: fanedit

I think parallel editing is definitely the way to go here for the maximum benefit of the music.

I forget where I heard it, but there’s a saying: There’s no bad idea that can’t be executed well, and no good idea that can’t be executed poorly.

As long as we get a good adventure with Rey, Poe, and Finn, I would consider it a win, time travel or not.

There’s a distinction between the plot and the hero’s quest that is getting lost here.

The plot of ANH is certainly to destroy the Death Star, but that is not Luke’s quest. He just wants to learn about the Force and become a Jedi - destroying the Death Star is merely the vehicle by which this happens. As we know, Lucas himself originally intended the Death Star to be destroyed in the third film, so Luke would presumably have had some other experience which required him to rely on the Force. The plot could be anything, as long as Luke begins his spiritual journey, and it might even be more resonant if he didn’t murder thousands of people in the process. 😉

Rey’s decision to fully embrace the Force happens when she calls the lightsaber, and her decision to find Luke is presumed and confirmed when she leaves on the Falcon. Her arc in this movie is complete without the Luke scene. The plot of the movie technically ended with the completion of the map, so actually journeying to the island is an acceptable scene to hold for TLJ or incorporated elsewhere such as in my edit, where it is used as a dream/vision to illustrate the moment Rey decides to ask Luke specifically for aid.

Gee, thanks y’all.

I’m not getting anything done right now on account of every waking moment being taken up with either work or moving into a permanent residence (yay homeownership!), but by the end of the month this move will be done and the edit will continue!

jarbear said:

AbramPT said:

And I know I might sound like a broken record at this point, but I’ll mention it one more time - I’m a huge advocate for redubbing the “parking violation” alien on Canto Bight. Maybe it doesn’t bother other people the same way it bothers me, but his southern drawl really takes me out of things. Plus including some alien language with subtitles would give it some OT vibes.

I would love something done about that. the OT established that if you are not human, you don’t sound human. Of course there are varying degrees, either in language or accent, but there is a clear distinction between human and non human. The PT mostly followed this as well, minus the Pod Race Announcer in TPM. This character felt VERY out of place as well as goofy. He would be more appropriate for the MCU than Star Wars.

I wouldn’t mind a dub or something that gives him an alien voice, or at least a more “alien” accent than a straight up Southerner. If you closed your eyes, you would picture a human saying his lines, not a non-human.

The same thing occurs with SOLO with Rio Durrant. He felt very out of place as well.

The southern drawl bothers me too. There’s only one instance in the OT where we hear a strong southern accent like that, and it’s just part of one line ‘Hold up here and wait for my signal…’ It feels like a bit of a mistake on the part of the actor, who has a much less southern American accent the rest of the time.

As someone who lives in the South, the accent feels very local and entirely the opposite of alien, but I’ll admit that means I don’t have the perspective of most of the world on this. I mean, there sholdn’t be any difference between a southern drawl and any other accent for someone in Star Wars, but the fact remains that it feels weird coming from aliens or even from other humans.

I think the fur color adjustment works well for the brief shot you’ve provided, but I don’t know if it creates any continuity issues if other shots have the removal (which looks great by the way).

With the SE changing all other Earth characters into alien versions, it is gratifying that this wasn’t changed since it could be viewed as merely a design that coincidentally looks like the Earth number 94.