NeverarGreat

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.

I had always assumed that the AT-AT on Endor was just arthritic or breaking down until a few years ago, when I realized that it had picked up Luke in the forest and that arthritic movement was it docking with the base.

screams in the void said:

whenever I watch Return Of The Jedi, I eat a tuna fish sandwich and wear a bib .It’s a bib for tuna .

Well done.

I like it. It feels kind of weird that they start to look for the codebreaker and then say 2 seconds later that they’ve searched the whole casino, like it should cut away to Luke or something while that’s happening. Did that happen in the original? I don’t remember.

Definitely agree that this section needs to be tied more closely into the rest of the movie somehow.

Trippy.

Maybe just desaturating his fur so that he looks a lot older, or giving him stripes like Logray…

No-one’s ever really gone.

Glad you’re back, Duracell 😃

The first post has been brought up to date with my current intentions for this edit.

Hal 9000 said:

If I were to create my own version of changes I like/dislike, (Which I could; it just wouldn’t look good) here’s what I’d do:

AHN

Have it be original up to Mos Eisley. The first shot with the ‘scurriers’ I would leave in. Then cut to the SE shot, minus the droid wackiness. Then have the original version for the shot that starts the stormtrooper diolauge. Then have the SE far shot, before having the original Canina entrance. Then it will be entireley original version until the Falcon takes off, which will be SE.
The entire inside the Death Star scenes will be SE for just general better Matte Paintings, except for major things like Han’s lots-of-stormtroopers-room.
The Death Star space battle would be primarily SE, except for the explosion which would be original.
The Award Ceremony would be SE, just because they aren’t cardboard cutouts.

ESB

Original version. The whole thing.

ROTJ

Everything would be original up until the new Bantha shot, which would be SE. Then entire ordeal with Jabba’s Palace will be original.
Come the end of the film, I would have all the shots of the galaxy-wide celebration, but when It comes back to the Ewoks, they will sing as in the original.

I think I will do this sometime, if I ever want to give Star Wars to a friend.

So it’s been 15 years, any ETA on this?
😉

I really need to clean up the first post again, since about half of these ideas have either changed substantially or been removed entirely, as the latest few pages attest.

However with regards to the new ending sans Rey actually finding Luke, there are several recent previews where you can judge how this works for yourself. I’m not particularly concerned with giving Rey the power of prophecy because she already displays this power in the original version since she has dreams of the island (and in TLJ it’s established she has specifically dreamed of the Jedi Tree), and when she touches the lightsaber she sees events that haven’t occurred yet in the movie. Also, and I’ve touched on this before, but this new ending of TFA would lead into an edited TLJ where Luke never appears in his Jedi robes and she instead finds him hiding in his hovel. This changes her ‘prophecy’ into a thematically resonant bit of subversion.

Another issue for me when approaching the end of the film is that Rey, a person with only a vague connection to Luke and entirely new to the Resistance, is chosen along with Chewie to go on the most important mission in the galaxy without even a Resistance operative to accompany her. With the new sequence of her repairing R2 and specifically dreaming of Luke, there is a much stronger argument for her to complete this mission.

Finally, TFA definitely ends on a cliffhanger despite her technically finding Luke. There is no way that this movie could stand on its own without the resolution of the scene in the next installment, hence why Rian chose to reshoot the scene. Besides, I would make the argument that the quest to find Luke is basically over once the map is complete. There’s no reason to think that Luke will not be found after this point, so the mission is a success. Everything else is just fanservice.

The second change seems anodyne enough, but the first significantly changes Luke’s motivation IMO since he now decides to become a Jedi without any information about his father’s wishes. Because of this, the revelation in ESB could have less of an impact because Luke is becoming a Jedi more of his own volition and less because he believed that his father wanted him to follow in his footsteps.

dgraham414 said:

i love the way the scene is put together except for one thing that probably can’t be fixed and its the fact that when Rey runs away she runs to the right of the frame and then a split second later our eye has to dash to the other side of the frame because thats where the shot from Starkiller is going.

Like I said before it probably cant be fixed very easily but its something that gave my a small headache because of how close to the screen i am

I wouldn’t want to horizontally flip the Starkiller firing shots since their movement is consistently and villainously right to left.

ziggyonice said:

Really, really great work on the Starkiller firing scene.

One thing I think I missed though: you no longer have Hux yelling, “Fire!”

I think that makes it a little more powerful, specifically when that female First Order agent turns to face the camera. If he yelled it right then, I think it would be as though she is listening to his orders.

Also, it’s just a little scarier when that happens.

Or maybe not.

One more thing: it definitely needs some audio work (which I’m sure you’re aware). Missing some explosions and X-Wing sounds.

The ‘Fire’ line always felt a bit weird, since it’s all but impossible to remove the echo of Hux in the large outdoor space. I’ll try to reinstate some version of it though, since the scene really cries out for Hux in some capacity.

The audio is definitely still unfinished, but I’m slowly working through the scene. A lot needs to be rebuilt from scratch.

RogueLeader said:

Nev, have you had anymore thoughts about the Takodana moon/space station idea recently?

Not really. I posted that idea in the other thread because it felt a bit too ambitious, effects wise, but if it were done I think it would be a net benefit to the edit.

OutboundFlight said:

I’ve honestly disliked that line from the get-go.

Why say it within the context of this story? Luke is about to face down Vader. Don’t tell the audience Luke isn’t important anymore. Even if Lucas was thinking Luke should have a sister at the time, I don’t see why he would reveal that to the audience now.

It is clear to me Lucas originally wanted to have a new character be Luke’s sister, but when he decided to stop making Star Wars movies, he wanted to tie everything up into a neat bow. Happily ever after. So if Han and Luke are having a love triangle, just make Luke her brother! Tadaa!

The idea of having this line was to give the audience pause and consider that Luke might actually be going to his death. I think it works in the context of the film. Obviously it works less well in the context of the next.

Hal 9000 said:

jarbear said:

From the current discussion, I am probably more curious with Sir Ridley’s work on having Anakin’s lightsaber retract showing he has his lightsaber but is surrendering … that is the simplest and probably the better way to go.

Here’s the shot in context, if you’d like to take a look. We’re lucky to have Ridley around. 😃

https://vimeo.com/342642767

Nice work. If you’re still entertaining suggestions, the one thing that seems weird is the final shot of Anakin; it seems superfluous, and cutting from Padme to the next scene sounds like it would be a natural progression for the music.

I never thought the broken lightsaber effect was at all convincing anyway, so not showing it is definitely a plus.

It’s been removed.

Been working the past few days on the Starkiller Firing scene, including shuffling the sequence and timing of a few shots, changing the firing shot so that the strong sunlight is no longer visible, and finally adding a new establishing shot to better transition from Rey/Kylo to the Starkiller cue.

https://vimeo.com/342388733

Password: fanedit

I don’t think the were meant to be heavy or light per se, just difficult to handle due to the energies involved. I imagine that it would be like swinging a gyroscope.

Keeping part of the droid factory is probably the right call here and most of it feels seamless, except for the bit with Anakin nonchalantly releasing Padme from the cask. I wonder if it wouldn’t be more effective to imply that it was the Geonosians who released her, since they immediately surround her anyway.

Other than that, great work!

Ha!

But yeah, I won’t be changing the ball, it was just a weird idea.

They look good, but have you considered using Frame Compare or something to show the difference from the original?

Just a weird idea I had just now, in thinking about how to show more of Ben’s childhood on the Falcon, that the training ball could now be one of Ben’s old toys:

It would need to be a physical prop filmed and rotoscoped into the shot, but it would turn a moment of fanservice into something which recontextualizes where Han is, mentally, that the memory of Ben and his childhood interests still has such a hold on him. It might also give the Rathtars a little bit of relevance in the larger story.

Probably impractical/confusing/not really worth the trouble though.

That is correct. I suppose it could also be interpreted as ‘Bring her to me…alone’, but that would be kinda weird unless it’s Snoke’s idea of a pun. 😉